Confindustria Ceramica

Transcription

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Cer Magazine international n. 27/2011 • ISSN 1828 1109 • year XIV
I NI T
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A ITOI O
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Cersaie 2011 focuses on
architecture, Miami distributor
wins top honors, The ethics
of building in Burkina Faso,
Rhapsody in blue, A modern
bathroom with feminine
design, Wellness projects,
Integrated with nature.
COOPERATIVA
CERAMICA
D’IMOLA
AND THE
ENVIRONMENT
Nature and technology combine to give birth to a new concept in ceramic tiles which
places the relationship between man and the environment at the centre; an inseparable
combination for the conscious achievement of eco-efficient corporate principles as well
as those of environmental eco-compatibility, sealed with important recognitions such as
ISO 14001 Environmental Certification, the Emas Registration, the production of ceramic
products with the Biogres and Progetto Life trademarks.
www.beeitalian.it
Editorial
The “Flemish School”
approach
to ceramic design
Andrea Serri
Editor of
Cer Magazine Italia
and International
A
s a means of developing an idea into a project, parametric software enhances
creativity – not just of the shape of a building shell but also of the materials
used for the surface covering. One of the new frontiers of modern architec-
ture, it promotes effective construction based on principles of good design and seeks new
aesthetic solutions – an area in which Italian ceramic tiles have a key role to play.
The extraordinary beauty of seventeenth century Flemish School paintings is a result of
their ability to combine an accomplished overall vision with an obsessive attention to
detail, two opposing aspects that take form and develop concurrently within a universal
model of beauty.
Parametric design using dedicated computer software and CNC machines represents a
kind of “Flemish School” approach to modern architecture, capable of pushing back the
frontiers of architectural volumes and revolutionising the individual details that make up
the whole. It is a particularly important application for the Italian ceramic tile industry, a
sector that since the advent of industrial mass production has been capable of manufacturing products in a multiplicity of sizes, colours and surface textures. Just like the individual
pixels of a digital image, the various modular Italian tile sizes can be combined by means
of original installation patterns, exploiting the versatility of ceramic surfaces to promote
a sense of harmony between the various building units.
Andrea Serri
27/2011 Cer Magazine
5
The Quinquennial Tile Award 2nd Edition.
The international award for living spaces creators.
The Quinquennial Tile Award launches its second edition. Devised by the Fincibec Group in collaboration
with Ottagono magazine, the award is reserved to all those who realized projects involving ceramic
materials from the three companies of Fincibec Group: Century, Monocibec and Naxos. Projects
realized between 01.01.07 and 31.12.11 for residential, public and industrial/commercial interventions
are admitted. Participants have 500 days to apply and a quality jury will select 5 winning projects.
The first classified will receive a new Fiat 500 and the other four classified will receive prestigious
design objects; all admitted participants will receive a free annual subscription to Ottagono magazine.
Online applications, complete information and rules available on www.tileaward.org
summary
Editorial
The “Flemish School” approach
to ceramic design by Andrea Serri
Architecture
Minimal chic hospitality
5
52
by Elisa Montalti
Wellness project
News by Simona Malagoli
Company catalogues
8
74
56
by Laura Maggi
Shopping and the city
62
by Donatella Bollani
Events
Cersaie 2011 focuses on the world 18
of architecture by Simona Malagoli
Kengo Kuma’s first work in Italy 82
A dialogue between matter and
transparency by Maria Giulia Zunino
Centro Empresarial La Encalada
by Livio Salvadori
Integrated with nature
Innovating with art by Elena Pasoli
66
74
by Santino Limonta
86
78
by Virginio Briatore
A building made of colour and light
Interview
The ethics of building in Burkina Faso 20
by Francesco Pagliari
by Alessandra Coppa
by Laura Milan
Miami distributor wins top honors
88
A new future for Porta Nuova Station 92
60
by Kristin Coleman
Home
Black and white in the blue of Miami Beach by Laura Ragazzola
A focus on simplicity
24
28
by Riccardo Bianchi
Delta Zero: Hi-Tech with a view
38
by Benedetto Marzullo
Rhapsody in blue by Katrin Cosseta
42
Trends & Technical Focus
A modern bathroom with feminine design by Elisa Pincelli and Katia Mattioli
Trend Town Trip: Milan, Paris, San Francisco by Fabrizio Chyrek
A question of identity: technical specification by Alfredo Zappa
Eco & Deco: Micro and macro tiles
32
48
70
96
by Elisa Pincelli and Katia Mattioli
INTERNATIONAL
Issue 27 - Biannual review - February 2011.
Promoted by
Edited by
Edi.Cer. SpA
Publication registered at Modena Court of Law,
no. 1784 on 18/01/2006 - ISSN 1828-1109
Publishing Director
Franco Manfredini
Editor
Andrea Serri ([email protected])
Editorial Staff
Valentina Candini ([email protected]),
Simona Malagoli ([email protected]),
Valentina Pellati ([email protected])
Editorial secretariat
Barbara Maffei ([email protected]),
Patrizia Gilioli ([email protected]),
Contributors
Riccardo Bianchi (AD), Donatella Bollani (Il Sole 24
ORE Arketipo), Virginio Briatore (Interni), Fabrizio
Chyrek, Alessandra Coppa, Katrin Cosseta (Interni),
Kristin Coleman, Santino Limonta, Laura Maggi (Elle
Decor), Benedetto Marzullo (Casamica), Katia Mattioli,
Laura Milan (Il Giornale dell’Architettura), Elisa Montalti
(Ottagono), Francesco Pagliari (The Plan), Elisa Pincelli,
Laura Ragazzola (Casaviva), Livio Salvadori (Casabella),
Alfredo Zappa (Costruire), Maria Giulia Zunino (Abitare).
Editorial offices
Edi.Cer. SpA Società Unipersonale
Viale Monte Santo, 40 - 41049 Sassuolo (Mo) - Italy
tel. +39 0536 804585 - fax +39 0536806 510
[email protected]
cod. fisc. 00853700367
Graphic design
Magazine - Milano ([email protected])
Advertising
Pool Magazine di Mariarosa Morselli
Via Giardini 466 - 41124 Modena
tel. +39 059 344 455 - Fax +39 059 344 544
[email protected]
Italian ceramics are on display at
September 20-24, 2011• www.cersaie.it
Personal data processed in accordance with Italian
Privacy Law (D.L. no. 196 of 30 June 2003)
Cover Photo: Centro Sanitario Alzheimer (Alzheimer’s
Centre) “Casa Cassiano Tozzoli”, Imola (Italy).
Ceramic surfaces by ImolaCeramica.
Photo: © Silviano Scardecchia.
Printing
Arbe Industrie Grafiche - Modena
Printed in February 2011
*
News
FINCIBEC
Verde 1999
Second edition of
The Quinquennial Tile Award
Acquisition of
Ceramiche
Campogalliano
Following the success of its first edition, The Quinquennial Tile Award is
back again this year. Aimed at interior designers, this international award is
organised by the Fincibec group in cooperation with the Italian architecture
magazine Ottagono.
The competition is open to architecture and design projects that have used
ceramic tiles from Century, Naxos and Monocibec in any area of building
activity – residential, public, industrial or commercial – between 1 January
2007 and 31 December 2011. This intentionally
long timeframe is intended to enable an expert
jury to judge the aesthetics and professionalism
of all the submitted works.
The Quinquennial Tile Award is open for
submissions until 10 March 2012 and serves
as a concrete and prestigious space for
outstanding international creativity.
The regulations for participation can be
viewed and downloaded from the official site
www.tileaward.org.
Mapei Group CEO
Giorgio Squinzi
has been elected
president of CEFIC,
the European
Chemical Industry
Council.
CERAMICHE REFIN
New modern and eco-sustainable
company headquarters
As part of the reorganisation and
expansion plan for its entire industrial area, Ceramiche Refin has completed the construction of a large
and more functional and friendly
headquarters designed by architects
Enrico Mussini and Simone Testi in
accordance with eco-sustainability
criteria.
Extending over three levels, the
working spaces in the new office
building are well integrated with the
showroom and representation areas,
organised around a street-level hall.
Designed by Duccio Grassi, an ar-
chitect renowned for his projects
for up-market commercial spaces,
the showroom uses the latest technologies to display and promote ceramic tiles.
Raw materials are exhibited in glass
cases at the centre of the space
while videos explain how these materials are transformed into finished
ceramic products, such as the thin
ceramic sheets mounted on universal joints on the walls and showcased in contemporary settings such
as shops, spas, living rooms, bathrooms and offices.
The
Headquarters
HALL
8
Cer Magazine 27/2011
Through an agreement covering a
business unit and part of the warehouse, the historic brand name Ceramiche Campogalliano, which has been
operating successfully in the market
for more than 30 years, has been acquired by the Verde 1999 Italian Ceramics group. “The news was greeted
enthusiastically by employees, agents,
customers and suppliers,” observed
chairman Daniele Verde, a sign that
synergies between the two production
activities may lead to new potential and
opportunities. As the Campogalliano
brand is well established in Italy and in
foreign markets including Canada and
the United States – countries where
Verde is also strong but operates in the
mid market segment – the acquisition
may allow for a higher degree of diversification.
PANARIAGROUP
Antibacterial
tiles with
Microban®
The Ceramiche
Mutina for iPad APP
can be downloaded
free of charge from
iTunes Store.
At SIA Guest in Rimini,
Ideal Standard Italia
has announced the
creation of its Hotel
Division.
At Cersaie 2010, Panariagroup Industrie Ceramiche S.p.A. presented innovative Microban® antibacterial ceramic tiles. Thanks to ongoing efforts
on the part of its research centre and
a major agreement with Microban, the
global leader in antibacterial technology, the most important porcelain floor
and wall tile and laminate stoneware
lines from the Group’s brands (Panaria, Cotto d’Este, Lea, Fiordo, Margres and Love Tiles) will incorporate
this innovative technology. This will
enable them to combine beauty and
strength with the hygiene and biological safety required for living, entertainment and work spaces.
This 24-hour protection treatment is
integrated into the tile during the production process and is unaffected by
wear, climatic conditions or repeated
cleaning, regardless of where the tiles
are used. When bacteria come into
contact with the treated surface, Microban technology blocks their vital
processes and they die.
authorized manufacturer
Spezzano, MO (Italy) • Tel. +39.0536.849611 • fax +39.0536.849856
www.gardenia.it • www.versacecd.com
News
COEM
Important product and
environmental management
certifications obtained
Pastorelli ceramic tiles in the McLaren Technology Centre
PASTORELLI
Partnership with the McLaren Group
Pastorelli, a Del Conca Group member company with a 2009 turnover of
128 million euro, has finalised an agreement with McLaren to supply ceramic
tiles for the McLaren Production Centre, thus returning to its role of official
supplier to the sports car manufacturer. Pastorelli was previously involved in
the construction of the innovative McLaren Technology Centre in 2004. The
32,000 square metre, GBP 40 million building designed by Foster+Partners
will accommodate the assembly line for the entire future range of McLaren
sports cars, from the new MP4-12C onwards.
Under the terms of the partnership, ceramic tiles from Pastorelli will be recommended for use in McLaren Automotive showrooms all over the world,
thereby unifying and broadening both companies’ approach to excellence in
design.
As part of a drive to
optimise the quality of
products and services
and to expand its environmental management system, Coem
SpA has gained the
two important certifications EMAS III
(Eco-Management and
Audit Scheme) and ISO
14001: 2004 for all its
production facilities. This marks the culmination of years
of work in which the company has focused strongly on environmental issues and energy saving through research and
adoption of technologically advanced tools.
After achieving sustainability in 1999 and subsequently introducing closed-loop technology, the Coem SpA production process recycles all its raw materials and water in the
production process and recovers energy to cut down consumption and CO2 emissions.
CASALGRANDE PADANA
Bios Antibacterial Ceramics in
ADI Design Index 2010
The ADI Permanent Design Observatory has selected Bios
Antibacterial Ceramics from Casalgrande Padana for the ADI
Design Index 2010, the third and last volume in the three-year
project featuring products submitted to the 22nd edition of
the Compasso d’Oro ADI Award, and since 2009 also products
chosen for the Premio dei Premi organised by the Italian Ministry for Public Administration and Innovation.
Chosen from more than 2000 submitted products on the basis of strict criteria of merit by some 200 experts organised
into commissions at three different levels (local committees,
theme committees and final selection committee), the fact that one
of Casalgrande Padana’s hi-tech
and high-performance products was selected for the ADI Design Index 2010 is an important achievement for the company.
Together with the many other awards and quality certifications
that the company has garnered in its fifty years of activity, this
selection is a highly prestigious achievement that encourages
Casalgrande Padana to continue its efforts in the pursuit of
ever more ambitious objectives.
OLYMPIA CERAMICA
A strong presence in numerous showrooms worldwide
The Interni showroom in
Shanghai
10
With its constant focus on image and
brand positioning, Olympia Ceramica is
increasingly promoting its international
presence and exhibiting its ceramic sanitaryware products in the most prestigious
showrooms worldwide. In the Shanghai
city centre, the Interni showroom is
hosting exclusively Italian products. In
Lebanon, an approximately 1,000 square
metre brand store located in one of the
most important streets of Beirut is being managed in cooperation with Ghassan Saroufin, one of the most important
local businesses. In India, Olympia Ceramica’s products feature prominently in
the showroom of Advance International
and in Australia they are displayed in all
fifteen showrooms of renowned Sydneybased company Harvey Norman.
Thanks to the quality and professionalism for which the company is renowned
the world over, its products are also featured in major showrooms in Holland,
UK, Ukraine, Greece and Cyprus.
News
CERAMICA GLOBO
New concept shop in Hong Kong
CAPRI CERAMICHE
Design elegance
from Sergei
Tchoban
Wishing to capture the beauty and
appeal of marble in a contemporary
product, Capri Ceramiche
contacted Sergei Tchoban, a
Russian architect acclaimed for his
international projects. The aim of
the collaboration was to enhance
the contemporary appeal of one
of the most classic and prestigious
natural materials in a collection that
emulates the patterns and colours
of the eponymous Bardiglio marble,
whose neutral colours (grey, cream
and white) are perfectly attuned
to modern sophisticated spaces.
While maintaining a clear reference
to the world of natural stone and
embracing Tchoban’s interdisciplinary
design approach, the Bardiglio series
offers floor and wall coverings with
outstanding visual impact that allow
the utmost scope for customising
spaces.
Ceramica Globo, a company that has been operating in the Chinese market
for a number of years with constantly improving results, recently opened a
concept shop featuring all-Italian style and luxury in Lockhart Road in the
important Wanchai shopping district of Hong Kong. The spaces are interconnected by designer bathroom installations characterised by fluidity of
movement and unique displayed products. In addition to the wide variety of
elements produced by the company (washbasins, WCs and bidets, baths and
shower trays), the store also features an info section on all Globo materials
for architecture and design.
The showroom layout is organised according to the product offerings. New
additions to the range are displayed in the shop window, whereas further
inside the store visitors can explore bathroom lines and shapes meeting all
tastes.
MARAZZI GROUP
Award for cutting-edge design
Giò Ponti, Triennale, 1960
Fifty years on from the famous Triennale, the “four times curved” tile designed
by Giò Ponti which immediately became an icon of modern ceramics and a
benchmark for the world of design, Marazzi – now celebrating its 75th anniversary – is as important a player now as it was in the past. Modernity and tradition, design and technological innovation are the mainstays of the company’s
philosophy in which research plays as vital a role as ever. This is demonstrated
by the latest awards won by the Group, most recently those for the innovative
SistemA crystallised porcelain from Marazzi Tecnica and the G Full integrated
sanitaryware system from Hatria. Marazzi Group products also feature in the
selection of the finest projects of Design Made in Italy by the Osservatorio Permanente del Design ADI and in 2011 will be included in the 22nd edition of
the Compasso d’Oro, the highest award for product design first launched in 1954
based on an idea by Giò Ponti.
SERENISSIMA CIR INDUSTRIE CERAMICHE
COOPERATIVA CERAMICA D’IMOLA
A competition devoted to “non-places”
Students at five design and architecture schools in France, Sweden, Germany
and Italy will be taking part this year in the first edition of the international
Talent for Tiles 2010 competition for innovative uses of ceramic tiles in urban
spaces. The competition is promoted by Cooperativa Ceramica d’Imola and
coordinated by Aldo Colonetti (scientific director of IED and director of Ottagono), with the cooperation of Michele Capuani and Cumulus (International
Association of Universities and Colleges of Art, Design and Media).
Devoted to urban non-places, this first competition is aimed at spaces between buildings and
roads that fall outside the scope of design. For it is
the care (or lack of it) devoted to these non-places
that determines the overall quality of urban life,
the enjoyment and liveability of cities. The competition therefore aims to create projects for large
vertical surfaces and urban elements, broadening
the scope of ceramics and pioneering new applications in the field of urban design.
12
Acquisition of Impronta
facility in Rubiera
Serenissima Cir Industrie Ceramiche, owner of the
Cir, Capri, Cerasarda, Cercom and Momodesign
ceramics brands, has acquired another major facility
in the Emilia-Romagna ceramic district, that of
Impronta Ceramiche in Rubiera.
This acquisition will enable the Group to expand its
product range into the white body wall tile sector
and broaden its glazed porcelain tile offerings.
Serenissima Cir Industrie Ceramiche is a dynamic,
forward-looking company focusing strongly on
growth within the Italian manufacturing fabric.
With a turnover of around 100 million euro and
an output of more than 6 million square metres
of tiles, the Group employed over 450 people in
2010 and this number is expected to rise to more
than 550 following the new acquisition. Serenissima
Cir Industrie Ceramiche also expects to see an
increase in production in 2011, bringing the Group
a turnover approaching 120 million euro.
ECCELLENZA CERAMICA DAL 1961
Prodotto: W-AGE di PROVENZA
www.acif.it
www.ergontile.it
www.emilceramica.it
www.ceramicheprovenza.com
www.cerviva.it
News
CERAMICHE CAESAR
An interior design project
at the click of a mouse
VIETRI CERAMIC GROUP
Mediterranean dreams at
HotelandSpaDesign
From 14 to 18 November last year, floor and wall coverings from companies belonging to Vietri Ceramic Group were featured in Med Dreams
Rooms, one of the five projects created by prestigious hotel and design
architects for the exhibition HotelandSpaDesign held in Naples as part of
the 45th Expo Sud Hotel.
The theme show recreated an entire hotel with room and spa suite spaces
to offer the public a close-up view of the most innovative technologies
and the most exciting design solutions. In particular, the Med Dreams Rooms
were designed by architect Diego Granese as two strongly Mediterranean
spaces for showcasing ceramic finishings. Water, fire, perfumes, sounds
and Neapolitan colours came together in this installation inspired by
dreams and memories.
MyHome Configurator is a
configuration and quoting
tool launched by Ceramiche
Caesar to help consumers
choose tiles for interiors and
exteriors simply and quickly.
An application available on
the site www.caesar.it/myhome
enables prospective customers to customise floor and wall
installations for bathrooms,
kitchens, living rooms and terraces. Users can select the most suitable
tiles for their needs from a wide range of high-quality products with low
environmental impact and explore different colours and surfaces.
MyHome Configurator also provides a rough estimate of the cost of
the project and enables customers to choose the retailer they want to
purchase from and find out about the characteristics of 100% Italian
porcelain tile from Ceramiche Caesar.
ROCA group
Ramón Asensio, appointed new CEO
Appointed by the Executive Board at the beginning
of 2011, the 56-year-old manager Ramón Asensio has
taken over as CEO of Roca Group (which includes the
Spanish sanitaryware and bathroom furnishing manufacturer Roca and the Swiss-based company Laufen)
from José Miguel Roca Sans, who leaves his position
after working for the company for 20 years.
In appreciation of José Miguel Roca’s professionalism
and achievements, especially during the recent difficult
years, the Group asked him to stay on at the company in
the capacity of advisor and chairman of Roca’s We Are
Water foundation.
The new CEO Ramón Asensio worked as
the Group’s director of human resources
for more than 25 years and was appointed
following the completion of the reorganisation of the companies belonging to Roca
Group. He will be responsible for steering
the company towards success during this
new phase.
14
FILA INDUSTRIA CHIMICA
Trattàti da Re 2010 awards
presented
The winners of the competition
Trattàti da Re 2010 for outstanding projects carried through with
Fila products were announced on
11 November last year after being
chosen from a shortlist selected
by a jury consisting of Chiara
Bruzzichelli (editor of Tile Italia),
Giuseppe Cappochin (chairman of
the Order of Architects of Padua), Flavio Marabelli (honorary chairman of
Confindustria Marmomacchine), Andrea Serri (editor of Cer Magazine Italia), Ugo Soragni (regional director for
Cultural and Landscape Heritage of the
Veneto region), Andrea Campagnaro
(head of R&D Fila Floor Care Products) and Jimmy Vardanega (head
of the company’s Italian operations).
The competition was open to Fila
“Maestri Trattatori” and “Trattatori” treatment specialists.
The award for the “Historic monument recovery” category went
to Adriano and Angelo Rossi for
the treatment of the floor in the
former Neveri Convent in Bariano
(Bergamo), while the “Contemporary architecture treatment” category was won by Roberto Rossetto
with the project for Hotel Colzani
in Cassago Brianza (Lecco). The
projects showcased on the Fila
stand at Cersaie 2010 together
with those of the other shortlisted
projects show how the company’s
products have been used in places
of outstanding historical value and
in prestigious contemporary works
of architecture.
deus
ex machina
w w w . r e f i n . i t
ceramiche
refin
design by Luca Nichetto
KaOs cOLLectiOn
ad: Roberto Bandiera / ph. Lorenzo Vitturi
News
FLORIM CERAMICHE
Greater workplace
safety with ISO 14001
and BS OHSAS 18001
Demonstrating its unflagging commitment to
the environment and the
health and safety of its
workers, Florim Ceramiche
has obtained the prestigious UNI EN ISO 14001 and BS OHSAS
18001 certifications from TÜV.
The ISO 14001 certification attests to
the company’s compliance with a series
of internationally established procedures
for improving the internal environmental
management system, whereas OHSAS
18001 (Occupational Health & Safety Assessment Series) is an international benchmark
for the certification of a management
system focusing on workplace health and
safety. Florim is the first Italian ceramic
company to have obtained this important recognition. In this connection, the
company has decided to purchase two
latest-generation defibrillators for use by
the internal first-aid team. The installation
of these devices represents a further addition to Florim’s safety equipment and will
allow for greater speed and efficiency in
emergency operations.
EMILCERAMICA
New logistics centre fully automated
With a view to overcoming the now all too evident problems with conventional warehouse management,
Emilceramica has given Weflex the task of reorganising its logistics centre in Fiorano Modenese. By integrating
Track+Race technology from the German company Indyon (for which Weflex has exclusive sales rights for
Italy) and the Intellimag WMS (Warehouse Management System) from the Modena-based firm Infolog, the
Emilceramica logistics management system has been completely automated. The system allows for automatic
goods identification and traceability in three dimensions, cutting down handling times and reducing the risk of
human error.
To implement the project, the entire site was mapped by installing RFID tags in the yard pavement and in the
floor in the covered areas, corresponding to a total of 17,000 transponders, and a Wi-Fi network was created
with 102 access points and 6 kilometres of optical fibre.
LAMINAM
Partnership projects in China
During a two-day workshop organised last December at Swisshotel
in Foshan, China by the company
Bobo, Laminam representatives
met more than two hundred architects and designers. The Laminam
managers Matteo Messori (export
manager) and Maurizio Zanni (sales
representative) gave a presentation
of the company, outlined the high
technological and aesthetic quality
of its solutions and launched the
training programme for the Bobo
La Fabbrica has
restyled its
website with a
graphic interface
designed to create
the ideal showcase
for products.
sales force, underscoring the key
strengths of Laminam sheets and
the characteristics that set them
apart from normal ceramic tiles.
Spacie Tang, owner of the important Chinese manufacturer, demonstrated his appreciation and understanding of the value of Laminam
products and his interest the possibility of a partnership with ambitious medium-term objectives.
Bobo currently has 36 points of
sale in strategic locations through-
out China and intends to open
a further 70 by the end of 2012
where it will intensively promote
Laminam and its products. The
cooperation project will enable the
Italian company to set up logistics
and manufacturing branches in the
Chinese market.
The new Ceramiche
Supergres website
is now online
with a completely
restyled graphic
design and a wider
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range of content
onullao rper ilisis autatio
streamlined for
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ease of navigation.
LEA CERAMICHE
The showroom becomes the set for a rebus
During the first edition last October of Milano Design Weekend
2010, the interior design event
organised by RCS MediaGroup
and Gruppo Mondadori, the
Lea Ceramiche showroom in Via
Durini, 3 featured a new installation inspired by the theme of The
art of living, a new intimacy.
Recreated by Diego Grandi in
16
the exhibition space Scenario 03
and running until January, the
installation Rebus _ Frase: 1,4,2,6
explored a new approach to the
concept of surfaces and decoration: new living solutions in
which design and experimentation find their highest expression.
A small number of elements with
a strong personality are the key
players in a contemporary living room. The Lea Slimtech thin
laminated porcelain sheets in the
new colour and tactile version
Gouache.10 serve as the backdrop to a scene that includes an
iconic sofa, a large standing lamp
and the familiar and reassuring
presence of a fireplace.
Ceramic Tiles of Italy. A natural beauty.
Choosing Italian tiles is a question of style. Beauty alone is no longer enough, you have to create
harmony which is beauty and respect together. The beauty of a product of superior technical quality along with respect
for working conditions and the environment.
For more information, please contact: Confindustria Ceramica – Viale Monte Santo, 40 – 41049 Sassuolo (MO) – Italy – tel. +39 0536 818111 – fax +39 0536 807935
Ceramic Tiles of Italy, promoted by Confindustria Ceramica, is a registered trademark of Edi.Cer. Spa, the organizer of CERSAIE,
International Exhibition of Ceramic Tile and Bathroom Furnishings – Bologna, Italy, September 20-24, 2011 – www.cersaie.it
Advertising campaign co-financed by
www.laceramicaitaliana.it
EVENTS
Cersaie 2011
focuses on the
world of architecture
by Simona Malagoli
Due to open in Bologna
on 20 September this
year, the world’s most
important exhibition for
the ceramic industry is
looking to the future.
18
T
he twenty-ninth edition of the International Exhibition of
Ceramic Tiles and
Bathroom Furnishings will be
held in the Bologna Exhibition
Centre from 20 to 24 September this year, a week earlier than
the customary dates, and will
feature the same poster concept
that was created for Cersaie
2010 by Alessandra Parodi, the
University of Genoa architecture student who won the first
Beautiful Ideas competition held
in 2009.
The attention that Cersaie has
always devoted to the world
of architecture and design is
reflected in the packed programme of conferences, seminars and exhibitions organised
as part of Building, Dwelling,
Thinking, the cultural programme that explores themes
of interest to architects and
designers. Each year the show
attracts a growing number of
professionals. Given its success
in previous years, at Cersaie
2011 the Architecture Gallery
that hosts these events will be
transferred to Gallery 25-26,
a larger and more convenient
space featuring a 400-seat conference hall and a lounge with
maxi screens, installations and
a bar.
In view of the enormous interest on the part of Italian
and foreign exhibitors, Cersaie
2011 is expected to repeat last
year’s exhibitor figures (a total
of 1,012 including 263 foreign
companies from 33 countries in
a total area of 176,000 square
metres). The 2011 show is also
expected to maintain its appeal
to visitors (an attendance of
83,286 was reported in 2010,
including 24,960 international
visitors, up from 2009). Attendance by journalists and
cameramen was likewise strong,
reaching a total of 738 (+3.2%)
including 462 Italian professionals. Given this growth in attendance, last year’s initiative for
media professionals – the Press
Village for print media journalists and the TV and Web Village for new media profession-
als – will certainly be repeated
at the 29th Cersaie but with a
different format and in a more
prominent location. A fully operational workstation equipped
with a high-speed internet connection will enable leading TV
and web channels to make live
broadcasts during the five days
of the show.
Comprehensive news on the
exhibition and the latest information on the events in the
programme can be found on
the website www.cersaie.it,
which also has reserved areas
where exhibitors and journalists
can find information of specific interest. The Press Area,
further expanded this year,
features a round-up of articles
published in daily newspapers
Presentation of award to Alessandra Parodi,
winner of Beautiful Ideas competition for her poster
concept for Cersaie 2010 and 2011.
and trade magazines, television
programmes broadcast on local
and national stations, as well as
press releases and an extensive
photo gallery of high-resolution images. A particularly large
section is devoted to the Periodical press review, divided
into Italian and international
magazines and classified by
year and month of publication.
A country search function has
been added to the international
section to facilitate consultation by finding all the relevant
magazine articles when a given
country is selected. Magazine
covers and articles relating to
Cersaie or Italian ceramic tiles,
including the winner of the Ceramic Tiles of Italy Journalism Award, can be downloaded
in a pdf version. The fifteenth
edition of the award will go to
the best article published before
30 April 2011. Articles must be
submitted before 15 May 2011
and will be selected by a jury
made up of Italian journalists.
The award will as usual be presented at the Ceramic Tiles of
Italy International Press Conference during Cersaie.
Cersaie 2011 will also host the
award presentation for the next
Beautiful Ideas competition
for the design of the show’s
2012 poster concept. Launched
last year, the competition will
continue to give students at
Italian university faculties and
design institutes the opportunity to express their talent.
Aspiring young designers are
invited to submit design ideas
based on the theme of Ceramic
evolution that convey the ubiquity
and versatility of ceramic products and their scope for mimicry, sustainability and creativity.
Submissions must reach the offices of Confindustria Ceramica
no later than 1 June 2011 and
will be showcased in an exhibition to be held at Cersaie 2012.
The International Ceramic Tile
and Bathroom Furnishings Exhibition is looking to the future,
focusing on the knowledge, potential and interest of tomorrow’s designers, professionals
with whom the ceramic industry intends to promote ever
closer cooperation.
Top, the TV and Web Village and the Press
Village.
Above, from left, Mariana Svetoslavova,
editor of the Bulgarian magazine Idealen
Dom, receives the Ceramic Tiles of Italy
Journalism Award 2010; a page from the
“Periodical press review” on the Cersaie
website.
Simona Malagoli
19
interview
Photo: © Enrico Cano 2010
The ethics of building
in Burkina Faso
Projects by Diébédo Francis Kéré win
the BSI Swiss Architectural Award 2010
by Alessandra Coppa
T
he eldest son of the head of the
village of Gando in Burkina Faso,
Diébédo Francis Kéré’s face bears
ritual incisions that signify his rank
and mark him out for an extraordinary destiny. And his story is indeed quite exceptional,
starting out from the trade of carpenter that
he chose in his early youth and which prefigured his future profession of architect - a
choice that might appear perfectly ordinary
were it not for the fact that wooden structures are rarely used in his country due to the
threat from termites. Nonetheless, it gave
him the opportunity to work on a German
ministry programme for economic cooperation and development and to establish initial
contacts with what was to become his second homeland. In the village of Gando he
built his first works of architecture, which
won the prestigious BSI Swiss Architectural
Award 2010.
The jury chaired by Mario Botta chose Francis Kéré for his essential and intelligent ar-
20
chitecture projects in which the local community is actively involved in improving
living conditions in such a poor country as
Burkina Faso.
Francis Kéré rediscovers architecture’s deepest meaning as an activity capable of tackling
severe problems of poverty and underdevelopment. “His language,” notes Botta, “is
based on fundamental compositional elements: the fired clay brick walls supported
by gravity and the lightweight roofs that
serve as umbrellas suspended above living
spaces. It is an architecture of profound humility that forcefully demonstrates how the
ethics of building can sometimes produce
marvellous poetic silences.” The two school
buildings and teachers’ houses that won the
award are representative of an approach to
architecture that strives to implement virtuous and lasting transformations. But above
all they remind us of the high level of spatial, climatic, lighting and tactile quality that
can be achieved by low-cost architecture.
Extension project for the primary
school in Gando (Burkina Faso), 2008.
Diébédo Francis Kéré’s architectural
language consists of simple elements:
fired clay bricks and lightweight roofs
that draw attention to the deepest
significance of construction.
Diébédo Francis Kéré: I was born in
Burkina Faso, a country where eighty percent of the population can neither read nor
write, where most people have never even
heard the world “architecture”. People build
houses on their own or try to imitate the
most successfully constructed homes in the
neighbourhood. If you are able to build a
straight wall that survives the rainy season,
people will be grateful to you for the rest of
their lives. These countries need houses that
respond to the urgent needs of the population. In Africa people can only dream of
how European cities are constructed. Our
houses are built from earth.
Alessandra Coppa: What have you done
to promote awareness of architecture
amongst ordinary people?
D.F.K.: I have tried to create an association
of tradesmen who are capable of guiding
people in the construction of new buildings, of teaching the building trade, envis-
aging this as vital participation in the social
and cultural life of the village.
To teach people how to build I initially make
a 1:1 scale model that they can look at and
touch. This way the first stage in the design
process becomes a kind of ritual.
These projects must be as simple as possible so that they can be easily understood
and replicated. In the village I think people
Top left, Diébédo Francis Kéré at the
window of the school in Dano.
Top right, teachers’ houses in Gando
(Burkina Faso), 2003.
21
interview
Secondary school in Dano
(Burkina Faso), 2007.
see me as a kind of orchestra conductor in
which the work of architecture has a strong
ethical and collective value.
*
The BSI Swiss Architectural Award
The BSI Swiss Architectural Award,
amounting to CHF 100,000 and now in its
second edition, is presented every two years
to architects under the age of 50 who have
succeeded in making “a significant contribution to contemporary architectural culture
and demonstrating particular sensitivity to
the landscape and environment”. The last
award, held in 2008, was won by Paraguayan architect Solano Benitez.
22
The 2010 winner, Diébédo Francis
Kéré, was born in 1965 in Burkina Faso but
trained in Berlin where he lives and teaches
at the Technische Universität.
He was selected from 28 candidates from
15 different countries. The jury, chaired by
architect Mario Botta, chose Kéré’s projects
for the extension of the primary school and
the teachers’ houses in Gando and the
secondary school in Dano.
A.C.: As the jury explained in their comment, it is precisely for this reason that
the aim of your project was not just to
build a better school for the village, but
to involve the entire community in its
construction, so that they fully identify
themselves in it and see it as the result
of collective work and a joint project.
Do you agree?
D.F.K.: All of my projects have been carried through by young people specially
trained for the occasion. And although this
is perhaps not the quickest and most costeffective approach to architecture, in the
long term it is certainly the most sustainable. It is this educational component that
informs my architecture and determines
certain construction choices, such as the decision in the schools in Gando and Dano
to leave the masonry exposed instead of
following the local tradition of covering
it with a clayey plaster mixed with organic
additives. The new building must therefore
take account not only of the local climatic
conditions but also of its specific context.
Construction techniques must be simple so
that they can easily be learned by the local
workforce, and the construction materials
must be readily available to minimise costs
and allow for the use of local resources.
A.C.: Do your projects follow principles
of sustainability and bioclimatic architecture?
D.F.K.: The expansion project for an existing school complex in Dano in 2007, located
on the outskirts of a town in Burkina Faso,
uses local materials and follows criteria of
environmental sustainability in response to
the specific climatic conditions. With its Lshaped layout, the new building closes off
the southern corner of the school complex
and is oriented in such a way as to reduce
the amount of sunlight striking the walls,
Top right, teachers’ houses in Gando
(Burkina Faso), 2003. © Enrico Cano 2010.
The use of local natural materials allows
environmental sustainability criteria to be
adopted without the need for complex
technology.
which in turn are shaded by a corrugated
roof. The expansion project for the primary
school in Gando in 2008 observed the same
bioclimatic principles of the original building but interpreted them differently. Instead
of the solid ceiling used in the first case, a
vault fitted with vents was used to evacuate
hot air and illuminate the space. For climatic reasons, hollow sections were integrated
into the vault: the air they contain acts as
a cushion and prevents the classroom from
overheating. Here too, protection from the
elements is provided by an amply projecting metal roof. When heated by the sun,
the sheet metal roof promotes ventilation
between the two roof sections, facilitating
evacuation of the overheated air and thereby driving the natural ventilation system.
Alessandra Coppa
Right, expansion of the primary school in
Gando (Burkina Faso), 2008.
The solid vaulted ceiling allows hot air to
escape through vents, thereby regulating
the temperature.
Bottom, The projecting metal sheet roof
is laid on top of another roof covering to
ensure adequate ventilation.
23
home
BLACK
S
AND WHITE
IN THE BLUE OF
MIAMI BEACH
by Laura Ragazzola
A loft converted into a bright, minimalist apartment in
which the interior design is dominated by a successful
combination of mosaic and materials with a glass soul.
Photos Arnaldo Dal Bosco, Surfaces Trend (www.trend-vi.com)
24
ituated in the most glamorous
location on the East Coast, overlooking the palm trees that follow the long profile of the sandy
coastline, this bright apartment is the holiday home of an Italian couple who decided
to carry through a radical refurbishment
project. But rather than knocking down
walls, the project focused on a harmonious
use of materials and finishes to create a colour code with a strong personality.
The hundred and fifty square metre floor
space is enclosed by large panoramic windows draped with ethereal white curtains.
The high-ceilinged living room opens onto
a terrace that allows the living space to expand outwards. And while the modestly
sized kitchen is a kind of annex to the dining area and serves solely for food preparation, the interiors open out again in the
master bedroom complete with en-suite
bathroom.
The apartment also has a TV room that can
be converted into a guest room and a second bathroom.
Clockwise from left, the dining
room with large window facing onto
the beach. Filtered by the curtains, light
floods in to emphasise the black and
white contrast of the furnishings. An
optical effect is also featured on the
floor (see detail below), paved with
terrazzo tiles from Trend which create
bright lines that stand out from the
slate-effect surface. The bar corner,
located opposite the living room,
features a circular bar complete with
designer stools. In the kitchen the
same floor creates a pleasant sense
of visual continuity. The white of the
furnishings is enhanced by the wall
mosaic with silver lamina.
25
home
Strictly avoiding superfluity, the interior
design project features a small number of
extremely modern items of furniture dotted around the rooms according to a simple and rigorous style. The colour scheme
is also very discreet, based solely on black
and white with a few exceptions in the bathrooms.
But it is above all the systematic use of
mosaic that lends identity and character to
the rooms - and not just in the bathrooms
and kitchen. Running seamlessly from the
living room to the bedroom, the floor is
paved with large-format terrazzo tiles made
from a mixture of crushed glass, quartz and
granite and produced by the Veneto-based
company Trend in a wide range of colours
and finishes. The Rocksolid matt black series punctuated by bright white inserts from
the Cristallino series was chosen for this
specific project, creating a visually striking
floor covering in which bright lines emerge
from the slate-effect floor. The white of the
walls and curtains further accentuates the
black and white colour scheme, which uses
optical motifs to create a kind of dynamism
The large photo shows the master
bathroom where the wall mosaics
create an original graphic motif
reminiscent of giraffe skin. Mosaic is
also used in the second bathroom
(above) but with a warm mixture of
glass mosaics with purple shades.
On the following page, the master
bedroom, again black and white
themed.
26
Technical details
within the rigour of the volumes.
But the uniformity of the spaces is also accentuated by the use of the same surface
covering for the kitchen countertop.
The unique technical characteristics of terrazzo tile mean that it can be produced in
extra-large and custom sizes, offering great
creative potential for designers.
This is particularly evident in the kitchen,
where the work surface is clad entirely with
Rocksolid series tiles in a matt grey colour
that coordinates perfectly with the customised white furnishings.
To brighten up the fairly small, windowless
kitchen, Karma series mosaics – also from
Trend – were chosen for the walls. Inspired
by the sophisticated stained glass windows
of Gothic cathedrals, Karma combines tradition and technology. A silver lamina applied to the glass mosaics reflects light, increasing the brightness of the surface, while
the inclusion of Swarovski crystals further
accentuates the light effect.
The night quarters maintain the same colours as the living room and the kitchen. The
optical motif dominates both on the floor
Surfaces: Rock Solid, Cristallino, Wallpaper and Karma series from Trend
Type and colours: Rock Solid (in gloss and matt versions in various colours) and Cristallino
terrazzo for the floors throughout the apartment and the kitchen and bathroom countertops
(custom sizes); Karma (col. 962) and Strass Swarovski Crystal mosaics for the kitchen walls
(size 2x2 cm); Karma mosaic (custom mix) in shades of purple for the bathroom walls (size
2x2 cm); Wallpaper collection (Grand 2) for the walls in the second bathroom (size 2x2 cm).
Main technical specifications: Water absorption (ISO 10545-3): 0%
Chemical resistance (UNI ENI ISO 10545-13): compliant - Deep abrasion resistance (ISO
10545-6): compliant - Frost resistance (ISO 10545-12): compliant - Slip resistance (DIN
51130): R9 - Thermal shock resistance (ISO 10545-9): compliant - Coefficient of linear
thermal expansion (ISO 10545-8): compliant
(the dark background is again illuminated by
the same bright lines as the living area) and
in the choice of furnishings (a small number
of sober black or white items of furniture).
The only spaces that depart from the strict
colour scheme adopted in the rest of the
apartment are the two bathrooms. The
master bathroom features an original wall
covering reminiscent of giraffe skin, chosen
from the Wallpaper collection from Trend.
Inspired by the typical modular design of
wallpaper, this series recreates arabesques,
geometric and floral motifs, mineral veins,
as well as magical reflections of water and
light.
The guest bathroom instead returns to the
Karma mosaic with its light reflections, in
this case accentuated by a mixture of pink
and purple shades. As in the master bathroom, the furnishings are chosen with
the utmost rigour, although the washbasin
eschews the classic white in favour of an
unusual choice of black.
Laura Ragazzola, Casaviva
27
home
A focus on
simplicity
Architect Nicola Ghilardi (www.nicolagdesign.it), Ceramic surfaces Monocibec (www.monocibec.it)
In San Nazzaro Sesia, a small village in the province of Novara in
northwest Italy, architect Nicola Ghilardi has designed a villa that
offers a contemporary reinterpretation of the area’s rural architecture.
28
by Riccardo Bianchi
S
implicity is key in this project for
a villa by architect Nicola Ghilardi, winner of second prize in
“The Quinquennial Tile Award
1st Edition”. Located at San Nazzaro Sesia,
a small village in the province of Novara
that grew up over the centuries around a
medieval abbey, the building extends over
an approximately 200 square metre area in
a large green space and consists of three
volumes on a single level. Nicola Ghilardi,
an architect best known for his projects for
restaurants, lounges, wine and music bars
and discotheques, explains: “One of the
three volumes hosts the night quarters with
the master bedroom and a double bedroom,
each with their own bathrooms; the daytime
area is located in the central volume; and the
last volume houses the leisure, technical and
service spaces. This layout, along with the
decision to construct the building on a single floor, is intended to make the house easy
to use. I wanted to create as few obstacles as
possible for the owners, who although still
young are approaching their maturity and
are thinking of the time when they are likely
to be less mobile.”
Interconnected with just a small offset, the
three volumes together make up a complex that reflects the rural architecture of
the area in terms of its formal linearity, the
strongly projecting roofs and the use of pillars to form open loggias. “My aim,” the architect explained, “was to build something
that would blend harmoniously into the
context and would clearly be a part of the
Previous page, view of the villa from the
garden. Note the three constituent offset
volumes. The central and slightly set-back
volume houses the large living room.
Top and above, two views of the swimming
pool, the visual focus and organisational
hub of the garden. In the night-time view the
water offers a fascinating reflection of the
Romanesque bell-tower of the Abbey of San
Nazario e Celso, the main landmark in San
Nazzaro Sesia.
rural landscape. This applies to both the
exterior and interior. Inside the house there
are plenty of references to the local architectural tradition: exposed bleached roof
beams, the dominance of the colour white
interrupted only by a few tonal variations,
and the sparing use and extremely simple
shapes of the furnishings. Naturally this decision to return to and reinterpret the local
building tradition does not affect the technological quality of the construction, which
is in fact very high.”
As for the internal architecture, Nicola Ghilardi’s project offers two main points of
interest. The first is the large double-sided
fireplace in the living room, an element
with a strong sculptural and visual impact.
The white block of the fireplace itself with
deep alcoves for firewood and ornaments,
the copper chimney pipe that ascends ver-
tically through the space like a symbolic reference to fire, the bright flames mixed with
light penetrating from the two sides are all
aspects that help to create a warm and welcoming atmosphere reminiscent of that of
fireplaces from past times. The other point
of interest is the floor. The architect chose
a single material, a textured ceramic tile with
the appearance of a dark vaguely mottled
stone produced in just two sizes, the larger
one used solely in the living room. Ghilardi
explains: “My idea was to reinforce the sense
of continuity that derives from the sequence of spaces in a single plane; to enhance
the fluidity of the routes by installing the
tiles at a 45° angle in staggered rows; and to
29
home
On this page, views of the living
room in the large central living area.
It is distinguished by two formal and
functional elements with a strong
decorative impact: the ceiling with
exposed bleached beams; and the
two-sided brick fireplace featuring
alcoves for firewood and ornaments
and surmounted by a copper
chimney pipe.
Technical details
Ceramic surfaces: Monocibec, Grandi Dimore series
Main type and sizes:
porcelain tile, size 33.3x33.3 cm and 50x50 cm + broken mosaic,
colours Mayerling and Rivalta
Main technical specifications:
Water absorption (ISO 10545-3): ≤ 0.5%
Chemical resistance (UNI ENI ISO 10545-13): compliant
Stain resistance (ISO 10545-14): compliant
Frost resistance (ISO 10545-12): compliant
Modulus of rupture and breaking strength (ISO 10545-4): ≥ 35 N/mm2
Crazing resistance (ISO 10545-11): compliant
The floor is paved with textured
stone-effect tiles laid in a
chequerboard pattern in two
sizes so as to emphasise the rural
atmosphere of the building.
30
Top and above, three views of the
bathrooms. Grandi Dimore series
porcelain tile is used here too for
the wall covering. The overall image
is enhanced by the broken mosaic
decoration.
Bottom right, the master
bedroom. The staggered 45°
layout of the tiles enhances the
rural essentiality of the room, which
like the other areas of the house
is furnished with very simple, wellspaced items.
create a sense of contrast with the white of
the walls and ceilings. But why use ceramic
tiles in place of authentic stone? Because
for practically the same aesthetic quality, the
textured porcelain tile from Monocibec’s
Grandi Dimore collection – the version I
chose is called Mayerling, although in one bathroom I also used the colour Rivalta – is far
more resistant, more hygroscopic and easier
to maintain. Furthermore, the chosen tiles
have vaguely irregular profiles and narrow
grout joints, which makes installation very
simple.”
And then there’s the garden. This too is
designed with simplicity in mind, a 1,600
square metre area centred around a swimming pool and featuring a small number of
well-spaced plants and flowers for emphasis and leaving ample space for the lawn,
envisioned here as a carpet with relaxing
properties. This intentionally discreet setting allows for splendid views of the nearby
Benedictine abbey of San Nazario e Celso
and its bell-tower. Framed by the windows
of the house, this fascinating presence with
its monastic essentiality is transformed into
a series of artworks, making it the pièce de
resistance of the otherwise rarefied interior
decoration.
Riccardo Bianchi, AD
31
trends
Large photo, Boing (GSG
Ceramic Design), a new versatile
and dynamic bathroom concept.
it consists of six different types of
washbasin available in three sizes,
60 cm, 80 cm and 105 cm.
The sanitary fixtures come in wallhung and free-standing versions
and the WC is available with
ceramic cistern. Below left Miss
(Hidra), by Meneghello Paolelli
Associati, centre-room designer
washbasin made of Living Tec and
produced in various colours. Also
available in a 55 x 50 x 89 cm size
with floor or wall outlet.
Below right, il bagno Alessi
(Laufen), by Stefano Giovannoni,
Tam Tam monobloc washbasin.
Cast as a single piece, it is also
available in centre-room version of
height 90 cm.
a modern bathroom
with feminine design
Soft yet light shapes with sensuality and simplicity
dictate the form of this domestic space.
32
by Elisa Pincelli and Katia Mattioli
A
s times change, so too do habits and customs, not to mention the layouts of our homes and the spaces set aside for
wellness and care for our bodies. We are rediscovering
a domestic aspect of personal care and, thanks to new
technologies introduced to the bathroom, are devoting increasing
amounts time to daily ablutions in modern bathrooms that have
become nothing short of domestic spas.
Featuring whirlpool baths, energising showers and light and colour
therapy baths complete with latest-generation LEDs, speakers and
mp3 players, Internet connections, ultra-flat screens and scented oil
dispensers, these bathrooms have become fully-fledged home wellness centres.
The bathroom has a female voice
The bathroom is becoming increasingly versatile, engaging and customisable. Through experimentation with materials, colours and
Left, Transtube (Roca), the new
global transparent and functional
shower solution. The shower tray is
clad with Styltech non-slip material,
while the stainless steel thermostatic
column allows for energy and water
saving. Diameter 115 cm, height
212.5 cm.
Top, Strada (Ideal Standard), the
new collection of ceramic designer
washbasins features three lines: oval,
round and rectangular. Dimensions
vary from 42 cm to 75 cm.
Above, Evolution (Simas), by Terri
Pecora, black and white combination
for single-hole wall-hung bidet and
wall-hung WC (thermoset plastic lid).
Below, Esprit (Tecla), recessed
washbasin with round, feminine
shapes, dimensions: 40 x 70 cm.
Bottom, Clear (Olympia), the new
series features washbasins available
in 4 different sizes: 75x45cm,
65x45cm, 55x45cm and 45x35cm,
coordinating with wall-hung sanitary
fixtures.
technology, the minimalism that has reigned supreme in recent decades is being partially or completely replaced by feminine glamour
and sophistication. Terri Pecora and Patricia Urquiola offer us some
of the most varied examples of sophisticated customisation of the
bathroom, not just through the design of innovative furnishing accessories, baths and sanitary fixtures, but also by proposing detailed
bathroom projects in which nothing is left to chance.
But what do we mean by “feminine”? For example, the aesthetic norms applying to the female body have changed considerably
over the last century. Periods in which abundant, Junoesque forms
were in vogue have alternated with times when long-limbed, slender
bodies were preferred, and fashion has adapted to emphasise the
traits considered feminine in each period. Today, feminine stands
for everything that is soft and gentle in shape but at the same time
is slender, sinuous, graceful and free from excess. It is hardly a surprise that we should find these qualities reflected in the design of
furnishing accessories, which are iconic and sculptural, sometimes
minimalist but always elegant, light in weight and even suspended.
33
....goes vintage
www.simas.it
EVOLUTION Collection, Terri Pecora
Above, Open Air (Box Docce 2B), shower
enclosure, tray dimensions 160x80 cm, H 200
cm. Right, Meg 11 (Galassia): Pietraluce®
bath, without overflow, free-standing installation.
Dimensions 188x88 cm. Below, from left, SPA
(Kerasan), from Studio Triplan: bath made of
Pietraluce (a special composite of alumina hydrate,
titanium dioxide and polyester resin), dimensions:
170x80x60h. cm - 210 kg. Velis, designed
by CDC Catalano: the Velis 100 and 80 cm
washbasins can be installed on surfaces produced
by INOVA, available in numerous finishes. Also
produced in a wall-hung version. DREAM-Flat
light RGB chromotherapy (Bossini), stainless
steel shower head with LED RGB lights, ultra-flat,
including control pad for colour therapy.
Ceramic or plastic agglomerates?
Advances in technology and experimentation with materials have
made it possible to create new solutions for application to bathroom furnishings. Composite materials such as Livintech, resins,
Corian and Pietraluce are just a few examples of technological innovations that are applied to traditional ceramics to create novel
aesthetic and tactile effects and levels of hygiene superior to those
of pure ceramic. Composite materials are extremely tough and are
consequently easier to model, suitable for production in smaller
Left, Back (Artceram), by
Meneghello Paolelli Associati: new
free-standing washbasin, 75 x 37.5
cm H= 85 cm made of ultra-thin
Livingtec®, also available in wallhung version. Taps wall-mounted or
fitted on the right and left sides of
the washbasin.
35
www.laceramicaitaliana.it/progetti
ARCHITECTURE
AND CERAMIC PRODUCTS:
THE PROJECTS CARRIED OUT
WORLDWIDE
120
Ceramic Tiles of Italy. The trademark
for the Italian ceramic industry worldwide.
TILES
AND SANITARYWARE:
THE ITALIAN CERAMIC INDUSTRY’S
NEW PRODUCTS
1000 HIGH RESOLUTION IMAGES
www.laceramicaitaliana.it/prodotti
From left, Nudo (ST Rubinetterie), by Simone Micheli: an open
plumbing system that exposes parts that are normally hidden from
view. Void (Flaminia), by Fabio Novembre: the collection has been
expanded with the addition of an intermediate size, the Void 60
Washbasin, in which the ceramic surface appears to be modelled by
water. Below, Grace (Ceramica Globo), by Creative Lab: bathroom
setting with single-hole 60 cm pedestal-mounted washbasin and freestanding sanitary fixtures from the same line, 50 cm or 52 cm.
thicknesses, less susceptible to scratching, and feature matt or highgloss effects and unusual, soft tactile appeal.
But some companies prefer ceramic for its uniquely natural characteristics. It is a living material that is transformed during the manufacturing process and – unlike moulded plastic materials which
behave in a regular fashion – is susceptible to shrinkage and unforeseen events that increase the percentage of rejects. This makes the
use of ceramic a fascinating experience for designers and a challenge to emphasise the nature of the material through its form.
The timeless elegance of black & white
Although we use the term “bathroom furnishing”, the purchase of
the items that make up the bathroom is certainly more challenging than that of the other objects that fill our homes, not just in
economic terms but also from a practical and structural standpoint.
As a result, a bathroom may be renovated just a few times over the
lifetime of a house. For this reason the choice of white as the main
colour has always been prevalent given that it coordinates easily
with other floor and wall covering materials. It is a supremely clean,
unique and elegant colour.
It is only in recent years that different colour solutions for sanitary
fixtures and shower trays have emerged, including bright colours,
gold or metallic lids, screen printing applications, patches of colour, and even animalier effects to create an impact at all costs. But
alongside white and other neutral colours, a scheme that transcends
fashion is certainly that of “black & white”, the eternal duality that
lends elegance and character to an interior while delineating the
space with a play of light and shadows.
Now you see it, now you don’t
The transparency of glass is combined with the materiality of the
sanitary fixtures. The edges and supports of conventional shower
enclosures disappear, while the glass panels are inserted into the
base of the shower tray, also made from innovative non-slip materials. This enables the shower enclosure to be installed in any space
without being invasive or distorting the style of the bathroom. And
while it appears to respond to an aesthetic need for simplicity and
lightness, it in fact offers a wide range of characteristics, not least
that of energy savings.
But while designers have always sought to eliminate everything that
is superfluous and to design forms that incorporate and hide pipes
and siphons, in the latest trend these elements have actually become
design features. Mixer taps, pipes, bends, connecting joints and internal insulation have all been redesigned to remain visible just like
taps, washbasins and sanitary fixtures.
The goal is to expose all the parts that are normally hidden from
view. This is a totally unprecedented trend that once again pushes
back the frontiers of design.
Elisa Pincelli and Katia Mattioli
www.tikfarm.it
Left, G Full L system (Hatria), by Nilo Gioacchini:
L-shaped bench of dimensions 140 cm, depth 50 cm
and height 41 cm, supporting the washbasin of
dimensions 40 cm, depth 47 cm, height 44 cm.
Materials: fine fireclay + vitreous china.
37
home
delta zero:
hi-tech with a view
by Benedetto Marzullo
A prestigious multifunctional
building located in Lugano,
Switzerland stands out for the
flexibility of its interior spaces.
C
ommissioned to design a highly prestigious multifunctional
building with a low environmental impact in Lugano, Switzerland, the project team made up of architects and urban planners from the practice
De Angelis Associati were keen to adopt the
most innovative comfort and energy-saving
technologies available. The mixed-use building combines open-plan offices (including
the De Angelis Associati showroom) with
residential spaces of various sizes, from the
smallest unit through to an apartment with
a large centre-room whirlpool bath and a
whole-floor penthouse. The architects gave
special emphasis to flexibility to ensure that
it would be possible to convert the tertiary
spaces into apartments of various shapes
and sizes and vice versa, even after completion of the project. Christened “Delta
Zero”, the project is the result of decades
of research into buildings that produce as
much energy as they consume, a condition that in technical jargon is referred to
as “zero differential”, hence the name. Designed to generate the energy required for
occupant comfort while at the same time
eliminating the harmful emissions produced
by traditional buildings, the Delta Zero
project is the prototype for a new kind of
building and a blueprint for tomorrow’s cities, a model and manifesto for an innovative standard of design and construction.
The building stands in a slightly elevated
position in the Lugano-Paradiso area. Extending around the central stairwell, which
has an anti-seismic function, the transparent glass and steel shell opens onto the
landscape to promote a dialogue with the
urban and natural environment. The large
interchangeable glass panels have different
characteristics according to their functions.
Photos Donato Di Bello (www. donatodibello.com), Architect De Angelis Associati (www.deangelisarch.com),
Ceramic surfaces Cotto d’Este, Kerlite (www.cottodeste.it, www.kerlite.it)
38
An almost black industrial stone floor
tile assures functionality while improving
the architectural quality of the interiors,
enhanced by artworks and furnishing
and design elements. LED spot lighting
delineates the space and further
enhances the common areas.
39
home
The distribution spaces offer views
onto multifunctional rooms that can
easily be transformed from tertiary to
residential spaces of various sizes,
even at a later date subsequent to
completion of the work.
The transparent elements are double glazed
and feature dual krypton gas cavities; the
bathroom panels have double black/white
screen-printed designs to reduce visibility
from the outside; and the solar elements
contain highly absorbent panels to collect
heat which is used both for hot water and
for heating.
Created as a collaborative project between
the design team and experts in geothermal
energy, solar energy, acoustic engineering
and home automation, the building uses
solar energy generated by high-efficiency
photovoltaic cells and thermal panels installed both on the roof – where they are insulated by means of special vacuum panels
with an insulating capacity ten times greater
than that of traditional materials – and on
the south-facing windows. The electrical
power required by the building is generated
by the solar plant and is guaranteed even in
low sunlight. Electricity that is not used directly in the building is fed into the mains
power grid, which serves as an accumulator.
The building is equipped with an advanced
home automation system featuring a simple user interface. Functionality is assured
by a raised floor covered with large-format
Kerlite planks from Cotto d’Este’s Avantgarde collection in the Bluestone colour,
an almost black stone. For the purposes of
ambient comfort, a heat pump connected to
the geothermal sensors provides heating in
winter and cooling in summer. The system
is sized to enable solar energy to entirely fulfil the total annual consumption needs for
heating and cooling.
40
The large windows do not affect the performance
of the Delta Zero building as they are all double
glazed with a dual krypton gas cavity.
The continuous raised floors make for strong
visual appeal while allowing for ease of inspection
and functionality.
Technical details
Ceramic surfaces: Cotto d’Este, Kerlite, Avantgarde collection
Main type and sizes: laminated porcelain
Sizes 31.9x142.7 cm and 31.9x31.9 cm, colour Bluestone
Water absorption (ISO 10545-3): ≤ 0.1% - Chemical resistance (UNI ENI ISO
10545-13): ULA – UHA - Deep abrasion resistance (ISO 10545-6): 146 mm3 - Stain
resistance (ISO 10545-14): compliant - Frost resistance (ISO 10545-12): compliant Slip resistance (DIN 51130): R9 - Thermal shock resistance (ISO 10545-9): compliant Crazing resistance (ISO 10545-11): compliant - Coefficient of linear thermal expansion
(ISO 10545-8): compliant
Finally, a low pressure, low consumption
ventilation system diffuses air inside the
building, pre-cooled in summer and preheated in winter. The incoming air is filtered
and ionised, allowing users of Delta Zero
to enjoy the experience of breathing pure
mountain air.
Benedetto Marzullo, Casamica
41
architecture
Rhapsody
IN BLUE
Soverato, a town
not far from the city
of Catanzaro on the
Ionian side of Calabria,
is home to a new
residential complex
featuring ceramic tiling
inspired by the colours
of the Mediterranean.
by Katrin Cosseta
O
ne might be tempted to make
grandiose references to the genius loci or to postmodern examples of free design gestures
inspired by nature, but in reality this architectural project has a simple objective. It is a
fragment of residential building that strives
to emerge from the typological and tonal
uniformity of the surrounding fabric, consisting of regular four or five floor buildings
with clearly defined volumes and orderly,
linear facades. And the project achieves its
aim thanks to precise design solutions that
create a strong identity, namely the interplay
of the materials used on the envelope and
the movement and diversification of the colours of the facade. The six-storey building,
designed by architect Carmelo Pagnotta, is
an articulated volume traversed by flowing
lines. And while the dynamic profile of the
terraces, the hint of a curved gable and the
sinuous vertical glass stairway at the centre
of the façade are all elements that suggest
the shape of a wave, the marine metaphor is
driven home by the lively blue colour of the
external cladding. The envelope consists larArchitect Carmelo Pagnotta, Ceramic surfaces Antiche Fornaci d’Agostino (www.fornacidagostino.it)
42
Facing page, a view of the residential building
designed by architect Carmelo Pagnotta in
Soverato, with its façade characterised by bright
blue ceramic tiles. On this page, the symmetrical
façade and rear elevation recall the colours of the
Mediterranean, featuring ceramic tiled strips in
two shades of blue alternating with bright yellow
plastered sections.
43
architecture
gely of Blu Mare and Blu Notte tiles from
the Riflessi di Cava collection produced by
Antiche Fornaci d’Agostino, a Salerno-based company founded in 1823.
These tiles are produced in a region with an
age-old ceramic tradition and the expertise
needed to recreate natural Mediterranean
colours on tiles (in this case enhanced by
a lava based body that enlivens the glazes)
and to encapsulate the extraordinary rendering of the dark and light blue tones in
a language and mark of origin. The glazed
surfaces display a variety of effects, free ir-
The blue tiles are the leitmotiv of
the project. The same tile used for
the façade cladding appears on the
stairwell wall and on the floor in the
hallway between apartments.
44
regularities, indeterminate shades, manual
brush strokes, light and shadows, unexpected transparencies, random concentrations
and dispersions of colour, layered films that
recall the depth of the nearby sea and almost challenge the building to a game of
mimicry with the sky. The portions of the
ceramic envelope become a compact blue
wall surmounted by a darker band against
which the strictly white waves of the balconies appear to break and which contrast
with the vertical strips of plaster in a yellow
(a reference to the Mediterranean light) or
burnt clay colour.
Each of the six floors that make up the building (along with a basement level) is divided into two 116 square metre apartments
served by the central stairway/lift unit. Here
too, the ceramic sea crashes in to create a
virtual connection between the inside and
outside of the building. A portion of the
hallway between the apartments is paved
with blue ceramic tiles, a kind of pool of
water that begins at the exit from the elevator. Likewise, the final section of the wall on
Along with colour,
movement is another
powerful design cue in
this building, expressed
in the curved profile of
the balconies and the
flowing lines that run
through the façade.
Technical details
Ceramic surfaces: Antiche Fornaci d’Agostino, Riflessi di Cava
collection
Main type and sizes: single firing, 40x40 cm size, colours Blu
Notte and Blu Mare
Water absorption (ISO 10545-3): ≤ 3% - Chemical resistance
(ISO 10545-13): class A - Surface abrasion resistance (ISO
10545-7): class 4 - Stain resistance (ISO 10545-14): compliant Frost resistance (ISO 10545-12): compliant - Modulus of rupture
and breaking strength (ISO 10545-4): ≥ 30 N/mm2 - Thermal
shock resistance (ISO 10545-9): compliant - Crazing resistance
(ISO 10545-11): compliant - Coefficient of linear thermal expansion
(ISO 10545-8): compliant
each flight of stairs features ceramic tiling
with an irregular curved design, like one last
wave that pushes users on and upwards towards the landing.
The building in Soverato clearly demonstrates the expressive and communicative power
that can be achieved by such a classic and
mature product as ceramic tile when used
as an envelope, even on simple architectural structures lacking the grandiloquence of
public or commercial functions. It also proves that the use of colour in architecture is
no longer reduced to the act of painting plastered surfaces, but is a direct expression of
the material used, of its specific consistency, texture and manufacturing process. The
materials and their colours unambiguously
clad the architectural form and enable it to
emerge effectively from the built landscape.
Katrin Cosseta, Interni
45
trends
trend town trip:
MIlan, paris,
san francisco
On this new journey Cer Magazine
meets three contemporary architects.
Their projects are blueprints for future
works of architecture and demonstrate
that - with the contribution of Italian
ceramics - large cities anywhere
in the world can progress towards
sustainability and respect for the
environment together with a new and
more sensitive design culture.
by Fabrizio Chyrek - www.chyrek.com
47
trends
MILAN, CITYLIFE
(DANIEL LIBESKIND)
CERAMIC SURFACES BY:
RONDINE, REFIN, ALFALUX, MONOCIBEC
MATERIALS FOR INSTALLATION AND
GROUTING: MAPEI
48
PARIS, musée
du quai Branly
(JEAN NOUVEL)
CASALGRANDE PADANA, SICHENIA, COOPERATIVA
CERAMICA D’IMOLA, PHORMA, UNICOM STARKER.
WASHBASIN: SIMAS
MATERIALS FOR INSTALLATION AND GROUTING: MAPEI
49
trends
SAN FRANCISCO,
California
Academy
of Sciences
(RENZO PIANO)
VERDE 1999, TAGINA,
ERGON, DEL CONCA.
MATERIALS FOR
INSTALLATION AND
GROUTING: MAPEI
50
DISCOVER
THE NEW PORTAL
THANKS TO:
mobiluce (Casinalbo-MO)
VIA FIUME 17 (Formigine-MO))
VISUALPRO photo studio
(www.visualpro.it)
FOR THE ITALIAN
CERAMIC INDUSTRY
PROJECTS
USA AND CANADA
3
CERAMIC TILES IN URBAN
1
MILAN
4
AGENDA / EVENTS
PEOPLE
1. RONDINE,
MYSTIQUE MURETTO MSP
2. REFIN, KAOS
3. ALFALUX, MONBRAC
4. MONOCIBEC, ONTARIO
MAPEI, KERACOLOR
2
ENVIRONMENTAL
2
PARIS
3
1. CASALGRANDE PADANA,
GRANITOGRES
2. SICHENIA, PAVè WALL
3. IMOLACERAMICA, CAPRI
4. SIMAS, EVOLUTION
5. PHORMA, I LEGNI
6. UNICOM STARKER,
INSPIRED by nature
MAPEI, KERACOLOR
4
6
5
WORLD
1
PROFESSIONAL
TEN RULES
CERAMIC BOX
PRODUCTS
WHY CHOOSE TILES
3
2
1
SAN FRANCISCO
4
1. VERDE 1999, TT120, PROGETTO 3
2. TAGINA, WARMSTONES
3. ERGON, ELEGANCE
MOSAICO STRIP
4. DEL CONCA,
THERMATILE & NAT
MAPEI, KERACOLOR
Ceramic Tiles of Italy. The trademark for the Italian ceramic industry worldwide.
architecture
MINIMAL CHIC
HOSPITALITY
by Elisa Montalti
An obsolete seventies
hotel in Teramo has been
transformed into a sober
four-star establishment.
L
ocated close to the old town centre
of Teramo and its riverside park
on Via Alcide De Gasperi, a high
traffic thoroughfare, Hotel Sporting is centrally positioned within the province, midway between the Adriatic coast
and the Apennine mountains.
Originally built in the 1970s, the hotel recently underwent a renovation project led
by architect Alberto Troncarelli together
Architects Alberto Troncarelli with Daniele Tittarelli and Maurizio Basile (structural engineer),
Ceramic surfaces Piemme and Piemmegres (www.ceramichepiemme.it)
52
with Daniel Tittarelli (co-architect and artistic and technical director) and Maurizio
Basile (structural engineer for the fire escape stairway).
The project involved completely redesigning the external image and internal hospitality facilities of the old hotel, which had
become obsolete and dilapidated, to create
a luxurious four-star establishment on the
outskirts of the city of Teramo.
The redesign, completed in 2010, involved
remediating the external envelope, creating
a new colour scheme, replacing the doors
and windows, renovating the interiors and
adapting the building to current safety regulations. For this purpose, an external stairway was constructed alongside the building.
Spiralling around the panoramic lift tower, it
is anchored to the floors of the building by
means of a loadbearing structure consisting
of pillars and walkways with iron railings,
curtain glass and steel handrails.
The iron beams were left exposed as part of
a clear industrial architecture vision, which
also inspired the finely decorated cantilever
roof projecting out from the hotel foyer.
The two original colours used for the exteriors – a paler pink for the stringcourses and
a darker pink for the facades – were replaced by two tones of gray, a lighter tone for
the background and a darker shade for the
horizontal bands that mark the floors.
The colours used on the exteriors are echoed in the interiors through the use of various materials. On the stairways and distribution corridors, for acoustic purposes the
surfaces are covered with carpet with a dove
grey edge indicating the room number, illuminated by a spotlight located on the ceiling
above.
The entrance to the hotel foyer is below
the level of Via Alcide De Gasperi, where
a cantilever roof with a steel structure and
glass top echoes the motifs and materials
used on the external emergency stairs.
Various tones of grey dominate
in both the exteriors and interiors.
53
architecture
The floors in the guest rooms and suites
consist of grey wood planks, whereas the
bathrooms are tiled with porcelain (Absolute collection from Piemmegres).
In response to a specific request from the
architect for the purpose of creating textured surfaces with a high visual impact, the
Grey coloured Absolute tiles were cut to a
height of 15 cm and installed in such a way
as to leave a dark coloured 1 cm grout joint.
Valentino collection tiles produced by the
company Piemme (following an agreement
with the world-famous fashion designer
dating from 1977) in colours Diamond grey
and black and a square 60x60 cm size were
installed in the large public spaces, including the stylish conference rooms equipped
with the most modern technologies.
On the various floors the hotel
offers a range of services, including
three conference rooms (New York
room, Montecarlo room and Miami
room) and several smaller rooms
for work meetings. The spaces
have an ethereal look due to their
pale and elegant colours and the
artificial lighting that can be adjusted
according to requirements.
54
All the hotel interiors feature minimal chic
design and sophisticated modern furnishings, enhanced by the display of contemporary works and colour choices focusing on
white and pale grey.
The top floor, run by a different management to the hotel and therefore accessible
via the external stairway and lift, is home
to a panoramic restaurant, a sort of roof
garden offering views over the city.
Elisa Montalti, Ottagono
Technical details
Ceramic surfaces: Valentino Diamond series from Piemme and Absolute series from
Piemmegres
Main type and sizes: coloured body porcelain tile, 60x60 cm size, colours black and
grey, and special sizes on architect’s request.
Main technical specifications: Water absorption (ISO 10545-3): 0.04% - Chemical
resistance (UNI ENI ISO 10545-13): compliant - Surface abrasion resistance (UNI ENI
ISO 10545-7): compliant - Stain resistance (ISO 10545-14): class 5 - Frost resistance
(ISO 10545-12): compliant - Modulus of rupture and breaking strength (ISO 10545-4):
≥ 35 N/mm2 - Slip resistance (DIN 51130): R10 - Thermal shock resistance (ISO 105459): compliant - Coefficient of linear thermal expansion (ISO 10545-8): 7x106 °C-1
The fifth floor houses the five suites, each featuring
a hydromassage bath at the centre of the room
and separated from the bathroom solely by partially
screened glass panelling. The parquet and wood
extends seamlessly throughout the various spaces
while the porcelain wall tiles in the bathroom create
a smaller and more intimate space.
55
architecture
wellness
PROJECT
The Extraspa Fitness Centre in Fano explores the concept of wellness
using a palette of materials and colours with strong tonal harmony.
by Laura Maggi
L
Photos Luciano Busani
(www.myspace.com/busaniluciano)
Architect Franco Scaglia
(www.studioscaglia.com)
Ceramic surfaces Rex
(www.rex-cerart.it)
ocated in Gimarra on the outskirts
of the town of Fano, Italy, the Extraspa Fitness Centre extends over
a three thousand square metre area
devoted to well-being, beauty and care for
the body, including a large terrace of approximately 700 square metres overlooking
the blue of the Adriatic Sea. This contemporary project was created by the Bresciabased practice Studio Scaglia headed by
Franco Scaglia, an architect who has been
working for over twenty years in the field of
fitness and wellness and can boast countless
projects throughout Italy, including the Get
fit and Virgin clubs. “The design challenges
involved in these spaces are identical to
those that arise in other places open to the
public,” explained the architect. “It is important to consider the location and importance
of the technical spaces and the intensity of
usage. But above all, it is important to study
the way that people move around within the
spaces, especially when designing wet and
dry routes in a rational way. For example,
you need to be familiar with the work of the
system engineers, but you also have to do
a lot of research into the lighting fixtures,
paints and the materials you intend to use.
These are spaces where furnishings are subject to harsh treatment and tend to wear
very rapidly, and you also have to know
how to reduce wastage.” The Extraspa
centre in Fano, opened in Spring 2010, is a
complex where everything is extra-large but
also stands out for its high quality. Facilities
include the gym space, fitted out with stateof-the-art equipment including isotonic and
cardio fitness machines and a room for special courses, a large indoor swimming pool,
a beauty zone with Turkish bath, sauna, a
thermal space and booths for aesthetic treatments, and a lounge area where members
can enjoy simple and wholesome food and
share the pleasures of conviviality. In addition to the generously sized volumes and
the full-height glazing that opens onto the
surrounding countryside offering splendid
views of the Adriatic Sea, the centre stands
out for the choice of the materials and
the skilful use of lighting, largely achieved
Left, a close-up view of
the large terrace of the
wellness centre in Fano
and, far left, the logo.
56
Above, exterior view of the
Extraspa Fitness Centre,
a building that displays
modernist influences and
is linked to the Adriatic
tradition. Left, the glass
volume that encloses the
stairwell and, far left, the
reception and lounge area
reserved for guests.
57
architecture
Top, the thermal area with
whirlpool baths. Above, two
views of the gym with highlevel equipment. Right, the
swimming pool illuminated by
atmospheric lighting.
58
through cooperation with leading producer
companies in the sector. Glass is not only
used for insulating screens but also performs a structural function, as in the case of
the transparent box that encloses the stairwell. Porcelain tile from the Abisko Ebano
and Betulla collections produced by Rex Ceramiche Artistiche serves as the leitmotif for
the floor and wall coverings, while blonde
wood features strongly in the visible space
in the sauna. The background colours are
chosen in a warm palette of natural shades
inspired by tree species, while the lights that
delineate the water spaces – from the swimming pool to the thermal areas – follow the
principle of harmony and psychophysical
well-being. “We take care of every aspect of
the project, from the layout through to the
final design of the furnishings, the organisation of the lighting system and the choice
of details,” declares Franco Scaglia. “We believe that clubs should be decontextualised
and tailored to the specific local area. We
like to conduct research into new materials
and technologies to try to create increasingly hi-tech clubs.” Because, the architect
explains, “We can help people improve the
way they feel. When people want to feel fit-
Above, the sauna area screened by a sliding
glass door. Left, a view of the bathrooms
in the changing area. Below, a beauty
treatment booth and, bottom, the showers
with sophisticated plays of colour.
Technical details
Ceramic surfaces: Rex, Abisko series
Main type and sizes: porcelain tile, 12x90 cm size, colours Betulla and Ebano
Chemical resistance (UNI ENI ISO 10545-13): GA - GLA
Surface abrasion resistance (UNI ENI ISO 10545-7): class V
Stain resistance (ISO 10545-14): class 5
Slip resistance (DIN 51130): R9
Thermal shock resistance (ISO 10545-9): compliant
Sanitari: Ceramica Flaminia, Miniwash 40 countertop washbasin (40x40x13 cm), designed
by Giulio Cappellini; Twin Set 42 washbasin with tap ledge + Twin Column diameter 42 h
16+69 cm (washbasin + pedestal), designed by Ludovica and Roberto Palomba.
ter and healthier they try to break out of a
daily routine that in the long term does not
satisfy them, and they look for something
better, even just for a limited period of time.
We have come a long way from the simple
gym concept: the latest-generation wellness
and fitness spaces are authentic spas that
offer a multisensory experience for the body
and soul, promoting total well-being.”
The Extraspa Fitness Centre is a place
where people can relax, acquire inner calm
and reconnect with their bodies, in a space
where even the interior architecture adapts
to the needs of wellness and harmony.
Laura Maggi, Elle Decor
59
interview
Miami
distributor
wins top
honors
by Kristin Coleman
Happy Floors
selected for 2011
Confindustria Ceramica
North American
Distributor Award.
Italian brands
distributed
by Happy Floors
cedir
cerdomus
gardenia orchidea
pastorelli
rondine group
saime sanprospero
sintesi
serenissima
uda
vallelunga
60
F
or the past two decades, Happy
Floors has imported and distributed high-quality ceramic and
porcelain tiles to the U.S. With
sales representatives across the country, the
company is able to service retail foor covering stores and specialty tile shops in nearly
every state. The company is also a member
of the USGBC and carries numerous porcelain tiles made in Italy with recycled content – helping to further the Italian tile industry’s commitment to sustainability. This
year Happy Floors has won the Confindustria Ceramica North American Distributor
Award. We interviewed James Nowicki, vice
president and director of sales and marketing at Happy Floors.
Can you elaborate a bit on the history of
Happy Floors?
Happy Floors was founded in 1987 and began distributing ceramic tile in 1990. The
“Happy” in Happy Floors came about from
an 80’s song lyric, “don’t worry….be happy.” That song had a way of getting stuck in
your head, which was why the fun name for
the company was chosen.
How would you describe your showroom/operations?
Happy Floors imports, distributes, and markets high-quality porcelain tile to the U.S.
Our main headquarters is located in Miami,
Florida, but we have sales representatives
based in major metropolitan areas across
the country that are able to personally service customers in all 48 States. We pride
ourselves in making our customers “happy”
through our dedication to service.
Who are your clients?
Retail floor covering stores and specialty
tile shops comprise the core client base for
Happy Floors nationwide. Our I-Design
Collection serves both the residential and
commercial customer and architects and
designers love to use our products for specifications in projects.
When did you begin importing tiles
from Italy?
We started importing ceramic and porcelain
tiles from Italy right from the beginning, in
1990. It was an easy decision since our feeling was that Italian tile was the best in the
world for their design and quality!
How have your relationships with these
companies evolved?
Our relationship and scope of business
with the Italian manufactures started out
focusing regionally and evolved to the scale of nationwide exclusivity. It is a pleasure working and doing business with Italian
factories. Italy seems to be the heart of the
tile industry when it comes to innovation,
quality, design, and trends; no one seems to
do it better! We feel fortunate to have such
strong suppliers that partner up with us for
a beneficial business relationship. And of
course the ability to visit them in Italy! Need
I say more?
What are the qualities that you associate with Italian tile? How do they differ
from tiles in other countries?
Two words can describe Italian tile: trend
setting! The Italian tile industry is known as
a world leader in design and technology and
certainly stands out for its high-quality and
cutting edge appeal. The history of tile runs
deep in Italy and the passion within the industry is definitely part of the culture.
What could the Italian manufacturers
do to better support you in your sales?
We feel that additional innovative marketing
and merchandising materials are always in
demand in the marketplace. Any support
on this end from the manufactures would
undoubtedly equal increased sales.
We noticed a section dedicated to “Green” on your website. Can you tell us
more about your commitment to sustainability?
From the beginning, we’ve committed
ourselves to revealing the inherent sustainable qualities of tile to the market. This is
why we are proud to be a member of the US
Green Buildings Council (USGBC). In general, ceramic and porcelain tiles are naturally
“green” because they do not contain/emit
VOC’s (Volatile Organic Compounds), are
low maintenance and have a long life cycle.
However, Italian tile manufacturers have
taken multiple steps to further reduce their
carbon footprint and conserve resources.
We’ve noticed more and more Italian companies producing tiles with a percentage of
pre- and post-consumer recycled material,
which also contributes to LEED points for
building projects. We are pleased to be promoting such environmentally friendly tile
products from Italy.
How do you feel about the state of the
industry and how has it affected you?
Currently, the state of the industry seems
stable and solid from our point of view. By
providing a wave of fresh new looks from
Italy this past year, Happy Floors has done
nothing but advance in the marketplace. We
have a great supply chain in place to support
the demands of the market.
Kristin Coleman
Facing page and above, Happy Floors
imports and distributes high-quality ceramic
tiles to the U.S. including more than 10
leading Italian brands. The company’s
porcelain tile collection is 95% Italian made.
Below, Miami is home to Happy Floors’
headquarters and distribution center. The
company has sales teams across the U.S.
who serve retail floor covering stores and
specialty tile shops nationwide.
61
architecture
shopping
and the city
The ceramic floor tiling in the Focus Mall in the
Polish city of Piotrkòw Trybunalski, opened in 2009,
explores the theme of urban itineraries through a
design concept that combines harmony with strong
visual impact. The installation pattern adapts to the
needs of the various functional areas and establishes
a clear distribution hierarchy.
Architect MOFO Architekci (www.mofo.pl) + WBWK Architekci (www.wbwk.pl), Distributor Boz 2 Centrum
Ceramiki I Palmowski, Ceramic surfaces Casalgrande Padana (www.casalgrandepadana.it)
62
by Donatella Bollani
T
he Shopping Mall built in Piotrkòw Trybunalski is the largest in the Lods region, extending
over two floors with an area of
more than 50 thousand square metres and
housing a multiplex cinema and 110 shops.
The structure resembles that of many
other large-scale retail spaces, but in developing this concept the Krakow-based
practices MOFO Architekci and WBWK
Architekci started out from the observation of a new trend dictated by the need to
refocus on the consumer, to restore empathy between consumers and the large consumer spaces that have lost their role of
drivers of innovation and modernity. New
stores are expected to offer experience, usability, a clear identity (in terms of ambience, range, products, etc.), sociability and
information within the context of a low
cost culture characterised by tight budgets,
while at the same time meeting the need
for high quality and performance in an environment with limited resources.
Facing page, the shopping mall
extends over two floors and a surface
area of more than 50,000 square
metres with 110 shops.
This page, the individual floor
elements use different installation
patterns to define functional areas
and mark out routes.
63
architecture
The large-scale retail sector is experiencing
a major change in direction. While large
retailers are offering discounts and promotions, consumers are shifting there purchasing choices towards players that offer
service and quality.
One of the aims of the project was therefore to define a new concept of beauty
and luxury. Even an outlet, a supermarket
or a discount store can offer consumers a
luxury experience, not so much in terms
of selection as of service, attention to customers, comfort and architectural design.
Purchasers seek out spaces that deliver visual appeal with intelligence, that fulfil their
unexpressed desires, that distinguish themselves from conventional store spaces.
The distinctive qualities of the new shopping spaces are those of heterogeneity in
terms of management, size and product
category.
The aim is to offer customers an experience of exploration and discovery through
a multiplicity of cues originating from
both the variety of displayed products and
the architecture of the space.
Left, the design of the floor coverings
stands out for a sophisticated use of
colour in ceramic tiles that are available in
a wide range of compositional solutions.
Facing page, the different cadences of
the patterns define the transit areas and
differentiate them from the display and
standing areas.
64
Technical details
The capacity for reception and comfort
are the cornerstones of the strategy for
the new spaces. The goal is to increase the
number of visitors and the amount of time
they spend in the store. The longer they
stay, the greater the probability that they
will make a purchase. At the same time,
the variety of offerings allows for differentiation between target clientele segments.
The same place that during the day offers
household items, perfumes and fashion
might be transformed in the evening into
a venue for an aperitif or a bookshop with
tearoom.
The aim is always to construct a complete
world of expectations and needs around a
specific theme capable of drawing together
the multiplicity of objects and services offered in the same space.
The new social and economic paradigms
that each day take shape in these meeting
places pose a significant design challenge:
to bring innovation and design closer to
the most human and emotional aspects,
to imbue commercial spaces that are no
longer devoted solely to consumption with
Ceramic surfaces: Casalgrande Padana, Pietre Native line, Meteor series
Main type and sizes: porcelain tile, sizes 15x60 cm, 30x30 cm and 30x60 cm –
colours Almond, Noce, Brown, Grigio, Nero
Certifications: Leed, Emas
Main technical specifications: Water absorption (ISO 10545-3): ≤0.1% Chemical resistance (UNI ENI ISO 10545-13): no alteration - Deep abrasion resistance
(ISO 10545-6): high - Stain resistance (ISO 10545-14): guaranteed - Frost resistance
(ISO 10545-12): guaranteed - Modulus of rupture and breaking strength (ISO 105454): 50-60 N/mm2 - Slip resistance (DIN 51130): R10 - Thermal shock resistance (ISO
10545-9): compliant - Crazing resistance (ISO 10545-11): compliant - Coefficient of
linear thermal expansion (ISO 10545-8): compliant.
an idea of home and city that will persist in
the experience of visitors.
Among the new criteria for the design
of commercial spaces, it has therefore
become essential to avoid uniformity, to
focus on the relationship with the urban
context and on the diversity of routes and
environments.
In Focus Mall designed by MOFO Architekci and WBWK Architekci, the contemporary compositional approach is governed by a sophisticated study of colour
and a creative use of materials.
The porcelain floor tiles from Casalgrande
Padana (Pietre Native line) are installed according to a multiplicity of patterns that
lend identity to the different areas, guiding
visitors in their choice of route to the galleries in the Mall and the escalators. The
different cadences of the field tiles define
the transit and standing areas according to
a hierarchy of relationships designed to
meet visitors’ expectations.
Donatella Bollani, il Sole 24 ORE Arketipo
65
architecture
A dialogue between
matter & transparency
Photos Luciano Busani (www.myspace.com/busaniluciano), Architects Valentina Pandolfi, Cristina Parisi, Antonio Pizzola (Spazimultipli Studio Associato
- www.multipli.it), Distributor Profili di Luce (www.profilidiluce.com), Surfaces Ceramica Fioranese (www.fioranese.it)
In its new location on the outskirts of Rome, Enterprise receives
customers in well-organised and brightly lit spaces that exploit
the essential qualities of glass, steel and porcelain tile.
66
by Maria Giulia Zunino
T
he first player in this project is
Enterprise, a company that in the
space of just over ten years has established a strong position in the
finance and banking sectors through continuous research and investment in products
and services for the organisation and automation of banks.
The other is Spazimultipli, a young Romebased architectural practice headquartered
in Testaccio – the twentieth-century working-class neighbourhood built on the site
of the ancient Tiber river port – which has
already built a reputation for its incisive and
effective proposals.
The project itself centres on an existing building without any special aesthetic
qualities but with two aspects of unquestionable merit: the fact that it can easily be
reached by public transport from the centre
of Rome (it is situated just 1 km from the
EUR-Magliana underground rail station)
while lying outside the urban chaos; and
above all its location on a 3,000 square metre site that slopes down towards the Tiber
via a sequence of green terraces.
These advantages have been fully exploited
in a project that clearly defines “space, form
and material, the fundamental aspects of
any work of architecture because they contextualise it, define its character and relate it
to users”, as architects Valentina Pandolfi,
Cristina Parisi and Antonio Pizzola, founders of Spazimultipli Studio Associato, explain in their programme. “The challenge
we face is to create high-quality projects free
from prejudice, combining time-honoured
and innovative materials and traditional
and advanced technologies. Our language is
based on superimpositions and contrasts,”
Above, the existing building stands on a
terraced site and has been equipped with an
underground garage connected by a large
panoramic stairway, which enhances the
complex visually and serves as a pleasant and
unusual outdoor meeting space for employees.
Right, attention to workplace quality is even
greater inside the building, where there is a
preference for natural lighting.
the architects continue. Their approach is
clearly demonstrated in this project where
the lightness of the interior stands in
marked contrast to the material qualities of
the exterior.
From the street the new Enterprise headquarters building acquires greater visibility
and importance due to the choice of emphasising the materials of the existing facades. The tuff and travertine used on the
facades are reproduced in the new monumental stairway, a strong presence within
the landscape. As the building entrance
has been shifted to the side of the building, the stairway rising spectacularly up the
hillside enhances the natural environment,
and is connected to the new underground
garages by a lift. It also serves as a pleasant
place where employees can meet and relax
outdoors.
The interior of the building is entirely different, creating equally distinctive working
and reception spaces but in a more contemporary style that is more suited to the quality
of life of the people working here.
The contemporary and meaningful use of
graphic design was chosen in this project
not just for its intrinsic function as a communication tool but also as an essential element for the quality of the working space.
Aesthetically enhanced by a sanding process,
the geometric motifs featuring on the glass
partitions ensure a minimum of workplace
privacy but without significantly diminishing or interrupting the flow of natural light.
Because it is natural light, together with
67
architecture
Left, the glass inserts in the
stairwell floor allow light to filter
through from above. On the stairs,
the artificial light emitted by the
sculptural volumes created with
backlit Barrisol stretch fabric
complements the natural lighting.
Below, the floor covering consists
of black glazed porcelain.
Above, the metallic structure and vertical
screen-printed glass panels create
unexpected reflection effects, giving
the stairway an unusual sensation of
lightness.
Below, located at the darkest point
inside the building, the stairway does not
interrupt the flow of natural light.
Technical details
Ceramic surfaces: Ceramica Fioranese, Nu_Marble series
Main type and sizes: glazed porcelain tile, size 45x90 cm,
colour Nero Marquinia
Water absorption (ISO 10545-3): 1.6%
Chemical resistance (UNI ENI ISO 10545-13): GLA
Surface abrasion resistance (UNI ENI ISO 10545-7): PEI 4
Modulus of rupture and breaking strength (ISO 10545-4): 41 N/mm2
Coefficient of linear thermal expansion (ISO 10545-8): compliant
68
Top, the choice of a single tile
size for all the spaces, from the
bar to the large working areas
and the bathrooms, accentuates
the sense of spatial continuity.
Above, the various patterns
differentiate the spaces but above
all alter the transparency of the
vertical surfaces to ensure a
minimum of privacy.
transparency, that is the real protagonist of
the interior spaces. It penetrates deep inside
the building via the new central stairwell
and lift shaft, which are delimited vertically by glass walls and horizontally by the
glass inserts in the stairwell floor. Under the
control of sensors, it blends with artificial
illumination to back-light the large Barrisol stretch ceiling surfaces that enhance the
architecture of the space. It diffuses into
the offices, where the glass partitions with
screen-printed geometric designs lighten
the wall structure and create continual plays
of perspective. And it reflects on the white
walls and Marquinia black floors consisting
of porcelain tile from Ceramica Fioranese’s
Nu_Marble collection. The choice of a hitech material that combines the aesthetic
appeal and nobility of marble with the technical characteristics of porcelain, in an essential black colour and a single large size
(45x90 cm) to reduce the number of joints,
has enabled the designers to achieve a seamless surface that enhances the almost rarefied overall impact.
Maria Giulia Zunino, Abitare
69
technical focus
A question of identity:
technical specification
To determine the characteristics of a tile, manufacturers
have drawn up a document that summarises the official
performance data.
by Alfredo Zappa
W
here Do We Come From? What Are We? Where Are We Going? is one of Paul Gauguin’s most
famous paintings, completed in 1898, and alone well worth a visit to the Museum of
Fine Arts in Boston. As the tormented artist explained, the title is not part of the painting itself but consists of three questions taken from a novel by Balzac and added at a
later date, three existential questions that for Gauguin were destined to remain unanswered.
On a slightly more prosaic level, the answers to the corresponding questions in the field of ceramic
floor and wall tiles are provided by the “technical specification”. This is a document that states the
characteristics that a tile must possess and indicates the values measured by an official accredited laboratory, such as the Centro Ceramico di Bologna, using the methods of the EN
A MERE DECLARATION ISO standards. If the standards impose a minimum acceptability criterion for the
OF CONFORMITY EN ISO group the tile falls into, the technical specification together with the value
measured for each characteristic indicates the minimum requirement that must be
DOES NOT ALWAYS PROVIDE met. This means that comparing the measured value with the corresponding reADEQUATE INFORMATION quirement gives an immediate idea of the quality level of the product. It should be
noted however that EN ISO standards apply solely to first choice tiles.
Essentially, the technical specification is a kind of identikit put together by the manufacturer and published in the catalogues and technical product documentation to allow the architect and client to evaluate the tile’s technical and performance characteristics.
So in the case of a tile, the question “Where do we come from?” is answered by the manufacturer and the
70
question “What are we?” is answered exhaustively by the values indicated in the technical specification.
The question “Where are we going?” relates to the field of application of the tile (determined by the stated
values), the contract specifications and the architect’s ability to fully exploit the quality of the raw materials in creating a work of architecture.
Technical specification and declaration of conformity
The catalogues and technical documentation for ceramic floor or wall tiles often state that first choice
tiles must meet the requirements set out in the relevant product standard in accordance with EN ISO
standards.
But what value does this declaration of conformity have and above all what differences are there between a brief description of this type and the more comprehensive “technical specification”?
In practice, a declaration of conformity constitutes a technical specification because it assumes that
the characteristics required by the reference standards for the tiles in question were measured at an accredited laboratory, giving results that, while not specified numerically, are declared to comply with the
acceptability requirements established by the standards. However, merely declaring that a tile belonging
to a particular group complies with the requirements stated in EN ISO 13006 Annex J is not always
sufficient to enable a choice to be made.
The first reason for this, as explained clearly by Giorgio Timellini and Carlo Palmonari in the book
“How and why – Buyers’ and Users’ Guide to Italian Ceramic Tiles” (published by EdiCer), is that there is a lack
of data concerning some very important technical characteristics. In these cases the EN ISO standards
do not establish obligatory acceptability requirements but instead refer to an evaluation of the data
measured by accredited laboratories on the basis of the specific intended use.
These missing characteristics include for example the abrasion resistance and resistance to acids and alkalis of glazed tiles, for which the EN ISO standards do not establish absolute requirements for acceptability. This was done intentionally because even glazed tiles with low levels of resistance to abrasion
and chemical attack may offer adequate levels of performance in spaces subject to limited stresses of
this kind, as in the case of a residential bedroom floor. On the other hand, clients and designers should
be aware that the mere declaration of conformity of a glazed tile to the requirements stated in EN ISO
13006, Annex J does not necessarily mean that the tile is resistant to abrasion or chemical attack. So
when these performance characteristics are deemed necessary according to the specific intended use,
the relevant information must be requested in addition to the normal declaration of conformity.
Quality and market
Even in the case of technical characteristics for which the standards do not lay down clear acceptability requirements, the declaration of conformity on its own is not always sufficient to assure full and
adequate technical knowledge. Returning to our example of a glazed tile, if the class established by the
standard for stain resistance is no less than 3, in practice this means that only classes 3, 4 and 5 are acceptable. But obviously if we were to consider only the declaration of conformity, a class 3 tile would
appear to be equivalent to a class 5 whereas in reality they have very different levels of performance.
The designer and client can adequately evaluate and exploit this difference in performance only if they
are in possession of the complete technical specification. As we have seen, the technical specification
compares the measured values of the tile’s relevant technical characteristics with the respective acceptability requirements, where they exist. This allows for in-depth knowledge of the tile’s characteristics
and reliability in terms of the quality and performance expected from a ceramic tile.
Last but not least, the technical specification is a document that testifies to the professionalism of the
Italian producers, a crucial factor in a globally competitive market where it is vital to offer the right balance between quality and price.
Alfredo Zappa, Costruire

Who does what
The official Italian laboratory for verifying
that the product’s characteristics
comply with those declared by the
manufacturer is Centro Ceramico di
Bologna (www.cencerbo.it).
Conformity of the tiles with the
standards may simply be declared by
the manufacturer (with reference to the
consignment of products) or certified
by a dedicated body (in Italy the Italian
national standards institute UNI, which
grants the product the UNI Quality
Mark on the basis of product checks
and verifications of the reliability of
production). This mark is printed both in
the catalogue and on individual product
packages.
71
I N T E R N AT I O N A L
JOR
STONE
natural porcelain stone
Porcelain stone
has never looked
so natural
70 different pieces of stone reproduced
photografically with digital technology for
over 180 ft² (17 m²) of unrepeated tile.
italian ceramics
Verde 1999 srl - Via Ferrari Carazzoli, 19 - 41042 Fiorano Modenese, MO Italy
tel +39 0536 911728 - fax +39 0536 913591 - www.verde1999.com - [email protected]
architecture
centro empresarial
La Encalada
A project in Lima
that blends in
with the architectural
characteristics
of the location.
by Santino Limonta
L
ima, gateway to Peru and the hub
of connections between the country’s major cities, was declared a
UNESCO World Heritage Site in
1991 for its colonial architecture. Today a
modern and fast-evolving metropolis, the
physiognomy of the city is changing rapidly
driven by a vibrant real estate market. This
phenomenon is particularly evident in traditional neighbourhoods such as Miraflores
(Lima’s waterfront district), Barranco (the
artists’ quarter), San Isidro, Monterrico, and
finally Surco, the district where Inmobiliario
Grupo Acciona decided to locate its new
business centre Centro Empresarial La Encalada. The building is located on the corner
between Avenida La Encalada (hence the
name) and Calle San Camilo, just a short way
from the imposing US Embassy. Formerly a
residential area, during the city’s expansion
in recent years it has grown to become the
second most important financial and commercial district in Lima. Architect Samuel
Photo: © Juan Solano
74
Architect Samuel Cárdenas (www.pixelcreativo.com/00clienteweb/samuelcardenas/)
Interior designers Giuseppina and Carla
Canepa (www. arq-studio.com)
Distributor Arq Studio, Ceramic Surfaces
TT120 (www.verde1999.com)
Previous page, the complex viewed from
Avenida La Encalada. The higher floors of
the rear elevation are progressively set back,
further highlighting the clean lines of the
facade. Above on this page, the pedestrian
entrance to the building. On either side,
the vehicle entrance and exit. Below, the
entrance hall with its play on neutral colours.
The large-format ceramic floor tiles lend
unique style to the space.
75
architecture
Top, the essential yet elegant
furnishings used to create the entrance
hall waiting area. The white leather
high-backed sofa enjoys pride of place,
pleasantly contrasting with the grey
and black colours of the chairs and
the synthetic fur rug. Bottom left, the
lift area can be seen at the end of the
hall. Right, detail of the black granite
reception desk.
Cardenas is keen to emphasise that his main
concern in this project was to seek an architectural structure that would comply with
the very strict building regulations, meet his
client’s expectations in terms of maximising
returns, and at the same time minimise the
impact of a building of this kind on a neighbourhood characterised by low architectural
volumes. This was the reason for the high
degree of fragmentation of the glass planes
and the use of lateral end elements, while
76
the floors on the elevation facing onto Calle
San Camilo are progressively set back in a
show of respect towards the adjacent single-family residences. At the same time the
clean lines of the facade together with the
corner location allow the building to impose
its presence with discretion within the urban
fabric. The project has four below-ground
and eleven above-ground floors. Its total
height of 31.50 metres includes a two metre
bonus granted by the authorities in exchange
for assigning the first and second floors to
parking areas along with the entrance hall
and its services. The three glazed sides of
the building are enclosed by glass walls
equipped with insulation and thermal and
acoustic control systems. From the third to
the eleventh floor there are forty-five offices
ranging in size from the smallest (110 square
metres) up to those extending over an entire
floor (approximately 700 square metres). A
total of 161 car parking spaces are available
Night view of the Centro
Empresarial La EncaIada.
The six illuminated large low-density
polyethylene flowerpots accompany
visitors towards the entrance and
create a unique atmosphere.
Technical details
Ceramic surfaces: TT120 (Verde 1999), Progetto 1
Main type and sizes: multilayer full-body porcelain tile, sizes 120x120 cm and
60x120 cm, colours Ghisa and Peltro
Water absorption (ISO 10545-3): ≤ 0.5% - Chemical resistance (ISO 10545-13):
UA - Deep abrasion resistance (ISO 10545-6): max. 175 mm3 - Stain resistance
(ISO 10545-14): compliant - Frost resistance (ISO 10545-12): compliant Modulus of rupture and breaking strength (ISO 10545-4): ≥ 35 N/mm2 - Thermal
shock resistance (ISO 10545-9): compliant - Crazing resistance (ISO 10545-11):
compliant - Coefficient of linear thermal expansion (ISO 10545-8): compliant
between the fourth basement level and the
second above-ground floor. All levels are
connected vertically by four lifts and two
pressurised emergency stairways equipped
with fire doors. The main pedestrian and
vehicle entrance is on the first floor facing onto Avenida La Encalada. The entire
building is monitored by a closed-circuit
surveillance system with twenty-eight video
cameras. While the interior design of the individual offices is left to the respective buy-
ers, the job of designing the common spaces
was assigned to the architects Giuseppina
and Carla Canepa, well known in Lima for
having created the showrooms of leading
Italian and European furniture brands (the
two sisters were born into the profession as
their father, the architect Giacomo Canepa,
is attributed with having introduced the
Mediterranean style in Lima in the 1970s).
The two architects made a significant contribution to the entrance hall, creating an im-
posing space with an essential yet attractive
contemporary look in accordance with the
image sought by the high-level companies
housed in the building. A crucial contribution to this result came from the use of
TT120 porcelain tiles from Verde1999. As
the entire hall is paved with a striking largeformat floor covering that stands out for its
unique installation pattern, two tones of grey
and the surface sheen produced by a honing
treatment, it was necessary to add only a few
high-quality furnishing accessories.
Santino Limonta
77
architecture
Integrated
with NATURe
In the building designed by Marco Acerbis, architecture,
environment and materials combine to achieve energy class A+
by Virginio Briatore
T
he POLINS Strategic Innovation
Centre, a beautifully curved structure designed by architect Marco
Acerbis with the participation
of the city of Venice and the Ca’ Foscari
University, was one of the first buildings in
Italy to gain A+ certification in accordance
with the CasaClima protocol.
For this purpose, it brought together the
seemingly opposing elements of tradition and innovation. Throughout history,
human beings the world over have striven
to create works of architecture that establish a harmonious relationship with the
surrounding environment, combining light
and warmth, shadow and safety, water and
materials, insulation and maintenance.
Even the simplest buildings have been designed to make the best possible use of the
slope of the land or the proximity to a forest in order to withstand a snowy, wet or
dry climate, and have used locally available
Architect Marco Acerbis (www.marcoacerbis.com), Ceramic surfaces Marazzi Tecnica (www.marazzi.it)
78
low-cost materials such as wood, stone and
bamboo.
Gaining a knowledge of the past to design
for the future should be the axiom of all
good designers, entrepreneurs and public
administrators. But respect for tradition
must go hand in hand with innovative proposals in terms of both technology and behaviour. In POLINS the two worlds meet:
the building is embedded in the landscape,
exploiting the shape of the terrain to shield
itself from the cold on the north side and
using a natural buttress to offload the thrust
of the supporting arches. At the same time
it adopts the most advanced construction
techniques, eco-sustainable materials and
renewable energy sources to achieve the
goal of sustainable, long-term coexistence
with the surrounding environment.
In the words of the young architect Marco
Acerbis, a student of Norman Foster, “The
project reflected the desire of all the parties
On this page, the POLINS
building adopts a combination of
sophisticated adaptation strategies
to minimise its ecological footprint,
experimenting with new approaches
to totally passive architecture capable
of obtaining CasaClima class A+
certification. Facing page, a major
contribution to cutting energy
consumption is provided by ventilated
walls, which are rendered seamless
by a system of hidden anchors.
The walls are made of crystallised
porcelain cut by waterjet to follow the
curved line of the supporting arches.
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doloreet, sit illan
79
architecture
Details of the interiors of the 400
sq.m surface area rectangular
plan multifunctional building,
which houses various offices and
a 150-seat conference hall.
80
involved to create a building that would
also serve as a small manifesto for sustainable architecture. It is the forerunner of a
public project that sets itself the ambitious
goal of gaining Class A+ certification, in
other words an energy-efficient (class A)
building that also uses environmentally
sustainable construction materials (A+).”
It is a small but important project in terms
of both the local context and its advanced
research objectives. The Strategic Innovation Centre is part of Eastgate Park, an
integrated logistic and industrial park serving North-East Italy located at Portogruaro near Venice. Officially opened on 2
October2010, the centre rapidly became
a meeting place for manufacturing firms,
universities and the professional world,
each of which contributes its knowledge to
the goal of exploiting future business opportunities such as the emerging and complex Indian market.
The architect wanted a ventilated façade
that would provide protection from rain
and wind and for this purpose decided to
work with Marazzi, which supplied both
the ventilated façade system and ceramic
tile cladding. Marco Acerbis chose black
Details of the reception.
In the interiors, the orientation of the
building and the use of natural light
foster psychophysical well-being of
users and contribute to sustainable
management of energy consumption.
Technical details
Ceramic surfaces: Marazzi Tecnica, SistemA
Main type and sizes: crystallised porcelain obtained from more than 40% recycled
materials, certified LEED and Ecolabel. Size 60x120 cm, colour A_black
Chemical resistance (UNI ENI ISO 10545-13): compliant
Deep abrasion resistance (ISO 10545-6): 130-150 mm3
Slip resistance (DIN 51130): R9A Nat. R10A Lux
Coefficient of linear thermal expansion (ISO 10545-8): compliant
coloured SistemA crystallised porcelain
tile for the east-west facades, where a large
template was constructed to accommodate
the broad curve and ceramic elements were
designed and cut to size.
The common-sense orientation, with the
south façade transparent but equipped with
a shading overhanging roof covered with
photovoltaic panels and natural – including overhead – lighting, also contributes to
sustainable energy management.
Virginio Briatore, Interni
81
events
KENGO KUMA’S
FIRST WORK IN ITALY
In cooperation with Casalgrande Padana, the Japanese
architect has built an unusual three-dimensional structure that
explores innovative applications of porcelain tile. It is a symbolic
construction that identifies an area with a strong manufacturing
tradition and close links with the culture of design and innovation.
82
by Livio Salvadori
“W
e are a glocal company
– globalised yet firmly
rooted in the local
area– and proud to be
so: before aspiring to compete at a world
level, we believe we must set an example by
organising our local operations and serving our country to the best of our ability.
For this reason, in accordance with its core
values, Casalgrande Padana has decided to
celebrate its first fifty years of success not
with an event behind closed doors but with
a series of public initiatives. These have
culminated in the construction of a symbolic and spectacular monument donated
to the community that not only highlights
the company’s achievements but also represents the entrepreneurial spirit and creativity of an industrial district that has become
an Italian centre of excellence and world
leader in terms of quality and innovation.”
This was how Franco Manfredini, chairman
of Casalgrande Padana commented on Kengo
Kuma’s project for the roundabout near the
company’s factory.
Casalgrande Ceramic Cloud originates from
Casalgrande Padana’s close relationship with
the local area, the core value that underpins
the company’s mentality and operations.
Rather than a sterile act of self-congratulation, this public work is an initiative of great
cultural significance that aims to improve
the aesthetic quality of Italian manufacturing regions with a work of great value in
terms of architecture and the landscape.
*
Project details
Casalgrande Ceramic Cloud
Client
Casalgrande Padana
Location
Casalgrande (RE), Italy
Type
Public work
Surface area
2,826 sq.m
Materials
Large-format porcelain tiles
(1200x600x14 mm) coupled
with special interposed
metallic connecting and fixing
elements; threaded steel rods
and bracing elements; white
stone pebbles
Date of completion
September 2010
CCCloud is a spectacular monument visible
to motorists driving along the new Strada
Pedemontana road in the vicinity of the
Casalgrande Padana group’s production
facility, a landmark that interrupts the thin
line of the horizon in the countryside in
the province of Reggio Emilia. The first
work in Italy by the great Japanese architect
Kengo Kuma, it is a symbolic construction
intended as the “western gateway” to the
Emilia-Romagna ceramic district. It is the
result of a programmatic agreement between the company – which took responsibility for financing, design and construction – and the municipal administration of
Casalgrande, and was carried through with
the scientific support of the Architecture
Faculties of Ferrara and Siracusa.
The work takes the form of an unusual
three-dimensional structure that experiments with innovative applications of latest-generation ceramic components. It is an
architectural object of refined elegance that
symbolises a local area with a solid manufacturing tradition and strong links with a
culture of design and innovation.
Located along the line of perspective of
the road, CCCloud bisects the space inside
the roundabout in front of the Casalgrande
Padana industrial facility. It takes the form
of a thin, diaphanous curtain that catches
the observer by surprise and captures his
gaze and thoughts with its dynamism.
Facing page, at the end of the opening
day, 2 October last year, the Aterballetto
dance company gave a choreographic
performance set to classical and
contemporary music.
Above, the work is a kind of “living
architecture” which changes constantly
according to the position of the observer.
Side-on, it looks like a very thin, sharp line.
“We wanted the project to be an integral part of the
location and to lend it a distinctive character,” said
Design Team
Architecture
Kengo Kuma & Associates:
Kengo Kuma (principal-incharge); Javier Villar Rujz;
Ryuya Umezawa
Project Manager / Cost
auditing
Mauro Filippini, Casalgrande
Padana
Engineering
Ejiri Structural Engineers:
Norihiro Ejiri and Pieter Ochelen
Client Consultant
Architecture
Alfonso Acocella,
University of Ferrara
Luigi Alini,
University of Catania
Urban Planning
Angelo Silingardi (CCdP)
Structures
Enrico Rombi (CCdP)
Alberto Zen (CCdP)
Utilities
Cesare Brizzi and Luigi Massa,
Casalgrande Padana
Lighting
Lighting design: Mario Nanni
Lighting fixtures: Viabizzuno
Communication
Nadia Giullari, Elisa Grisendi,
Sara Costi, Veronica Dal
Buono
Kengo Kuma was born in Yokohama in 1954 and
graduated from the university of Tokyo in 1979.
In 1987 he founded the Spatial Design Studio
(now Kengo Kuma & Associates). Since 2001
he has been a professor at Keio University.
83
ARMANDO TESTA
Faculty of Architecture of Genova, Alessandra Parodi for Cersaie
20-24 SePTeMBeR 2011
www.cersaie.it
Organized by EDI.CER. spa
Promoted by ConfInDustRIa CERamICa
In collaboration with
show management: PROMOS srl - P.O. Box 37 - 40050 CENTERGROSS BOLOGNA (Italy) - Tel. +39.051.6646000 - Fax +39.051.862514
Press office: EDI.CER. spa - Viale Monte Santo 40 - 41049 SASSUOLO MO (Italy) - Tel. +39.0536.804585 - Fax +39.0536.806510
EVENTS
Photo: Vincenzo Conelli
Above, viewed from the front Kuma’s work
is transformed into a continuous surface 45
metres in length, a wall that is permeable to
light and interacts closely with the surrounding
environment.
Below, scenes from the official opening under the
large marquee specially set up next to the work to
accommodate the large number of visitors.
Kengo Kuma. “For this reason, we decided to
build a structure that would divide the space in two,
making it special and giving it a dual personality,
achieving a result that is quite different from ordinary roundabouts. As part of our anti-monumental approach, we decided to align the ceramic wall
with the road leading to it, creating the impression
that the structure dissolves into space. When approaching the roundabout, it appears to be divided
by a vertical line; it is only when driving around
it that the wall takes shape and can be seen in its
entire length. In our architectural projects,” continues Kuma, “we draw inspiration from the principles of anti-dimension and anti-volume, but for
such an unusual project and site – accessible only by
car – we wanted to experiment with the relationship
between these concepts and the dynamic principles of
time, movement and sequential perception.”
Standing in an artificial pool of water that
reflects and multiplies its image and surrounded by an expanse of white stone pebbles to emphasise its abstract nature, the
structure is 45 metres long and about 7 metres high. In plan view, it is long and tapered
at the ends, reaching a maximum thickness
of 1.70 metres in the central section.
Made entirely of special large-format porcelain tiles secured mechanically to a purposedesigned metallic framework, the building
experiments for the first time with the use
of structural ceramic material. The threedimensional structure is composed of nine
overlapping layers of full-bodied porcelain
tile elements, placed edgewise and interconnected by threaded thin steel rods that are
hidden from view. Each ceramic component is produced by placing two standard
tiles and interposing special metal connecting and fixing inserts that provide adequate
static performance.
The innovative nature of the project and
the use of unconventional design solutions
required the active participation of Casalgrande Padana during the project design
and construction stages through a dialectical
process of continuous exchange of contributions and knowledge between the various
professional groups involved, both Italian
and Japanese. At the same time, company
experts designed and built numerous prototypes with the aim of gradually improving
the various components and proceeding to
construction.
Livio Salvadori, Casabella
85
events
INNOVATING
with art
by Elena Pasoli
T
The objects from the nineteenthcentury “Museo della Fabbrica
Rubbiani” forms the original core
of the museum.
86
he Galleria Marca Corona is an innovative
museum that traces
the history of the oldest company in the Sassuolo
ceramic district, offering a clear
and direct account of the origins, history and evolution of
ceramic products through to
the advanced technology of today’s tiles. It is an initiative that
revisits and celebrates a company’s unparalleled heritage,
narrating pages of history via a
multimedia language that contextualises objects and makes
them the focus of an intense
reinterpretation of the past.
Created by Sassuolo-based
practice Abacus e Progettisti
Associati with the contribution
of the Milanese firm Ennezerotre for the installations, the
The history of the oldest ceramic
factory in Sassuolo is documented in
Galleria Marca Corona, a multimedia
museum that can be explored in
many different ways, offering insights
into both the past and present.
museum derives from the nineteenth century “Museo della
Fabbrica Rubbiani”, an exhibition of fine Sassuolo ceramics
complemented by pieces from
Faenza and other areas of Italy.
As noted by Federico Argnani,
the first scholar to study the collection, its aim was to provide a
historical testimony of the factory’s legacy so that customers
could understand how past and
present come together in current-day production through a
process of solid business and
artistic continuity. It was a kind
of pioneering marketing operation that is carried on today
with the additional element of
strong local marketing, given
that the Galleria Marca Corona
captures and preserves the entrepreneurial spirit of the local
area, inheriting and upholding
its unique history.
The museum also has the purpose of documenting the technological progress behind the
history of ceramic manufacturing, which was revolutionised
in the eighteenth century with
the progression from painted
terracotta to authentic majolica.
In that period the bourgeoisie
were becoming more demanding and calling for ever higher
quality products, demands that
were met by a group of farsighted individuals who trained
local workers and invited craftsmen from other areas to learn
the secrets of their trade.
The nineteenth century also
brought major developments,
including lower-cost manufacturing technologies and higher
quality products, resulting in
earthenware of lighter weight
and aesthetic qualities similar to
porcelain. Following the unification of Italy, the factory was
purchased by the cultured and
enterprising Rubbiani brothers.
“The Rubbiani brothers immediately understood the potential
offered by the opening up of
markets following unification,”
explained Vincenzo Vandelli
from Studio Progettisti Associati. “They were marketing
men who took part in national
and universal expos, who understood the importance of
advertising. They produced and
Facing page, the chronological itinerary
leads past large display cases interspersed
with multimedia workstations.
Below, the Galleria Marca Corona facade.
Bottom, the extensive multimedia
documentation (videos, photos, texts and
interactive tools) provides the historical and
cultural background of the objects in the
prestigious collection.
sent out catalogues, they kept a
close watch on their competitors and got the better of them
(Sassuolo surpassed Florence),
they took risks and introduced
new techniques, incorporating the characteristics of tiles
from the north. It was Carlo
Rubbiani who began producing these tiles, which ended up
entirely replacing the factory’s
artistic output.” The final sec-
tion of the museum focuses on
today’s tiles, which, continues
Vandelli, “are no longer made
just from water, earth and fire,
but are extremely hi-tech products with performance characteristics that would have been
unimaginable just a few years
ago as well as a strong focus on
recycling, energy saving and the
environment”.
Many visitors have already discovered the fascinating story
told by the museum, and now
schools are one of its main user
targets given that the exhibition
can be explored in many different ways and offers an unforgettable educational experience.
Ceramiche Marca Corona has
dedicated this gallery to the
Concorde Group’s late chairman, professor Cirillo Mussini,
who fully appreciated its value
and made every effort to safeguard its integrity.
A selection of photos of the
museum can be seen online
at: www.marcacorona.it/azienda/
museo-ceramica-marca-corona.html
Elena Pasoli
Below, the objects from
the nineteenth-century
“Museo della Fabbrica
Rubbiani” make up
the original core of the
museum.
87
Architecture
A building made of
colour and light
Photo: Graziano Micozzi
Architect Patrizia Valla (www.patriziavalla.it), Surfaces ImolaCeramica (www.imolaceramica.it)
Spaces and itineraries in the Centro Sanitario Alzheimer in
Imola: constructing homely, liveable spaces that make an
active contribution to therapy.
88
by Francesco Pagliari
T
he architecture of the “Casa Cassiano Tozzoli” Alzheimer’s centre
in the northern Italian town of
Imola is designed to make life easier for patients, whether day guests or residents of the facility, and to cater for needs
associated with different stages of the disease. A knowledge of the adopted therapies
and of the behaviours of patients makes it
possible to propose a specific spatial concept based on continuous internal and external pathways, ensuring that the architecture
conveys a sense of familiarity for the dayto-day life of the facility to aid hospitality
and therapy.
The building is located within the grounds
of the former psychiatric hospital of Imola,
now an open public area, and is an important part of the urban landscape. The project
by architect Patrizia Valla excels for its rationality and clarity, demonstrating that architecture can be used to overcome – or
at the very least not hinder – the difficult
conditions in which patients find themselves due to their altered sensory and spatial perceptions. The entrance to the centre,
named after Dr. Cassiano Tozzoli, an active
supporter of public medical assistance in
the eighteenth and nineteenth centuries, is
identified by a projecting roof secured by
tie-rods. The building features a sequence
of bright, hi-tech elevations that emphasise
the linear geometry of the volumes. Along
with a variety of other materials, the building makes extensive use of glazing in order
to brighten up and enliven the interiors. The
elevations feature an alternation of metal
sheet and porcelain tile zones, using ventilated façade technology to optimise heat
insulation by allowing air to circulate in the
cavities, thereby protecting the interiors in
both winter and summer. Colours, materials and light make the building a powerful
presence that is a far cry from the popular
image of a hospital while underscoring the
modernity of a medical centre concept that
combines architecture and therapy.
Light is an essential design element in the
project. During the day, natural light en-
Photo: Silviano Scardecchia
Above, the entrance zone to the medical
centre. The projecting roof marks the
entrance point, while the elevations display
a sequence of hi-tech materials: aluminium
sheets with mobile openings and porcelain
tiles, as well as continuous glazing. Below,
glazing and aluminium cladding enclose the
first-floor courtyard space.
ters the interiors and models the corridors,
making them familiar and recognisable, free
from irregularities or points that are difficult for patients to negotiate. The colours
of the porcelain tiles of the exteriors, the
sensitive and delicate beige, sand and grey
shades from the De Natura series by Imola
Ceramiche, convey a sense of hospitality. Inside, the building offers a number of striking
features. Natural light floods into the spaces
through the full-height glazing, illuminating
the orange curved walls of the connecting
routes around the courtyard spaces and
spilling over onto the neutral colours in
the dining area, while the bathroom doors
are highlighted by their red colour. With
simple directions and easily recognisable
spaces free of intrusive signage, the building is more like a large home made up of a
89
Architecture
Photo: Silviano Scardecchia
90
Above, night views of the
entrance zone and the glazed
corner section: the brightly
coloured light projected onto
the facades and the illuminated
interiors transform the building
into an iridescent architecture of
reflections. Below, the protected
courtyard space: the large fullheight glazing follows the route
and the elements of vegetation,
and allows light to flood into the
interior spaces.
Technical details
Ceramic surfaces: ImolaCeramica, De Natura series
Main type and sizes: porcelain tile, 30x60 cm size, colours beige, sand, grey
Water absorption (ISO 10545-3): 0.05%
Chemical resistance (ISO 10545-13): compliant
Deep abrasion resistance (ISO 10545-6): 140 mm3
Stain resistance (ISO 10545-14): class 3
Modulus of rupture and breaking strength (ISO 10545-4): 50 N/mm2
Coefficient of linear thermal expansion (ISO 10545-8): ≤ 7x10-6 ˚C-1
Top, the elements that determine
the architecture: the continuous
glazing, surmounted by aluminium
wall cladding, illuminates the
interior routes; the external space,
characterised by greenery, trees
and differentiated paving; the warm
coloured porcelain tile cladding.
Right, the internal connecting route.
sequence of domestic spaces. Its therapeutic
role is complemented by an atmosphere of
congeniality and familiarity, physically facilitating perception and orientation on the part
of patients. At night, the building is further
transformed. The openings in the aluminium sheet areas are closed and the facades
are illuminated with changing colours that
are projected as though onto a screen.
The heart of the scheme is the sequence of
simple, easily negotiable itineraries specially
designed for patients who exhibit altered
spatial perceptions along with a compulsive
need for movement. Inside, the bedrooms
are connected with the common and dining areas and extend out into the external
spaces. The point of arrival on both the
ground floor and first floor is the Alzheimer
Garden, a space dotted with plants with
an easily negotiable paved circular route
that offers patients further opportunity for
movement.
Francesco Pagliari, The Plan
91
architecture
A new future for
Porta Nuova station
Photos Vincenzo Negro (www.vincenzonegro.it), Architect Marco Tamino (www.ingeniumre.it), Distributor Fiordoliva (www.fiordoliva.com),
Surfaces Ceramiche Caesar (www.caesar.it)
Turin’s central train station has been transformed and redeveloped.
With its renovated commercial spaces and new activities, it is in search
of new functions for a future that makes a clean break from the past.
92
by Laura Milan
T
he redevelopment project for
Turin’s main train station, which
– apart from a small portion of
the worksite – was reopened in
February 2009, followed two specific criteria. The first was a large-scale modernisation and development project launched by
Grandi Stazioni spa (controlled 60% by Ferrovie dello Stato and 40% by Eurostazioni
spa, which is in turn owned by the Benetton Group’s holding company Edizione
srl, Caltagirone Group member company
Vianini Lavori spa, Pirelli & C. spa and Sncf
Partecipations S. A. - Société Nationale des
Chemins de Fer) to rehabilitate 13 of the
most important Italian stations: Turin Porta Nuova (the third largest station in Italy
with 192,000 daily transits), Bari, Bologna,
Milan, Naples, Palermo Centrale, Florence
Santa Maria Novella, Genoa Brignole and
Genoa Piazza Principe, Rome Termini,
Venice Mestre, Venice Santa Lucia and Verona Porta Nuova. The second concerned
the intense local efforts to liberate Turin
from its dreary image of a former onecompany town. The city planning scheme
developed by Gregotti Associati, which in
1995 involved a urban renewal programme
centring on the rail line towards Milan, the
gradual redevelopment of dozens of abandoned areas (from Carpano to the Colongo
wool mill to the OGR), the hosting of the
2006 Winter Olympics, the opening of the
first line of a long-awaited underground rail
system and numerous cultural and food and
drink initiatives (from the Slow Food movement to museums and film centres) are just
a few of the projects that testify to Turin’s
determination to carve out a new role for
itself at a national and international level.
The neutral colour of the floor tiles
blends with the restored original
colours of the interiors of the station
and echoes the new colours of the
service and commercial spaces not yet
in use on the new mezzanine floor.
The redevelopment of Porta Nuova began
with the project by Marco Tamino (who between 2000 and 2004 drew up the preliminary and final plans) and continued with the
executive project awarded to Italiana Costruzioni and led by Giuseppe Amaro with
artistic consulting by Luca Moretto.
At a cost of 45 million euro, the project
mainly concerned the interior of the building, which was designed by Alessandro
Mazzucchetti and Carlo Ceppi and was first
opened in 1864. Located in the heart of the
city between Corso Vittorio Emanuele II,
Via Sacchi and Via Nizza, the identity of the
building has been maintained by limiting the
work on the external shell to cleaning and
restoration of deteriorated sections. Inside,
the building has been reorganised into two
separate parts. The first is the station space,
which has been reduced in overall size while
continuing to handle rail traffic on the 20
existing tracks (which underwent no major
work). The ticket office, waiting rooms and
passenger spaces have been merged and
modernised and moved closer to the platforms. Although this means they are further
away from the main entrance, it facilitates
access from the secondary entrances, especially Via Sacchi. The second part, which
serves as a filter space between the atrium
(with its barrel vault roof and the escalator exit from the metro) and the railway
spaces, is a 15,000 square metre shopping
centre open to the city, which has become
the focus of the entire complex. Organised
on two levels, with a new mezzanine floor
protected by glass panelling overlooking the
atrium, it redesigns distribution routes to
make optimal use of the commercial spaces, although this can be slightly disorienting
93
architecture
Technical details
Ceramic surfaces: Ceramiche Caesar, Ambienti series
Main type and sizes: porcelain tile, 30x60 cm size, colour Pietra
Serena
Water absorption (ISO 10545-3): 0.05% - Chemical resistance (UNI
ENI ISO 10545-13): compliant - Deep abrasion resistance (ISO 105456): ≤140 mm3 - Stain resistance (ISO 10545-14): compliant - Frost
resistance (ISO 10545-12): compliant - Modulus of rupture and breaking
strength (ISO 10545-4): ≥ 47 N/mm2 - Slip resistance (DIN 51130): R9
Thermal shock resistance (ISO 10545-9): compliant - Coefficient of linear
thermal expansion (ISO 10545-8): 6.5 (10-6 °C-1)
The upper level of the covered piazza,
which opens onto the lower level
protected by a balustrade, is illuminated
by sunlight that filters down through the
new glass ceiling, positioned in such a
way that a previously unused space is
now available.
94
From the main atrium, whose entrances and
roof are visible beyond the protective glass
screen, new lifts, stairs and escalators provide
access to the mezzanine floor, which by day is
always illuminated by direct sunlight filtering in
from the restored skylights.
The new elements blend in
seamlessly with the existing
structure, echoing the station’s
characteristic rounded shapes such
as the sequence of semicircular
arches which support the structure
from inside and the elaborate facade
(page 92) where the barrel-vaulted
roof is visible above the portico.
for passengers entering from the atrium in
search of the trains.
A range of materials have been used. In the
existing areas, plasterwork, glazing, stone
elements (floors and columns) and stuccowork (almost completely absent in some
prestigious spaces) was restored and supplemented, while the new spaces feature the
bright colours chosen by Moretto and the
materials dictated by the Grandi Stazioni
coordinated image. These include metal and
glass on the balustrades, the vertical closures of the mezzanine floor above the atrium, the horizontal closures on the covered
piazza between the distribution spaces, and
the false ceilings, escalators and lifts; and
porcelain (Pietra Serena colour, natural finish, from Caesar’s Ambienti collection) for
the large paved area on the mezzanine floor.
Porta Nuova is now certainly improved,
livelier and more modern, but it is still in
a process of transformation. And its future
depends above all on the new Porta Susa
high-speed rail terminal which will open
in 2012. Will it remain a station or become
first and foremost a shopping centre?
Laura Milan, Il Giornale dell’Architettura
95
trends
Eco & Deco: Micro
& macro Tiles
A return to traditional methods of building
and interior design for ecologically superior results.
by Elisa Pincelli and Katia Mattioli | www.tikfarm.it
F
or years now there has been much talk of eco-sustainability in fields ranging from the food sector to building.
A wide array of eco-friendly products are now available
on the market and such offerings will become even more
widespread in the future as a result of ongoing product communication. Many designers are taking up the challenge of designing
eco-sustainable or low-impact products while seeking to combine
ethics with aesthetics.
Green building and the ceramic industry
In the building industry, the need to protect human health and the
environment while saving on energy and using renewable sources
has fuelled the growth of green building, a movement whose goal
is to solve the problems associated with conventional construction
techniques through a return to the ethics of building. For a number
of years now, the Italian tile producer companies have likewise been
following this trend and are increasingly adopting low environmental impact manufacturing solutions that focus on technological improvements without sacrificing taste and aesthetic quality.
Ecolabel, UNI EN ISO and LEED (Leadership in Energy and Environmental Design) are just a few of the marks that ceramic companies have obtained following significant investments in improving
1
2
96
4
3
4
5
6
7
8
9
1. Basalto from Aurelia.
2. Absolute from RHS.
3. Travertino from Almatec.
4. Sierra from LaFaenzaCeramica.
5. Color Concrete from Fiordo.
6. Murano from Fondovalle.
7. Cava Alborensis from Kronos2.
10
8. Bardiglio from Capri.
9. Pure Colours from Cerim.
10. 5TH Avenue from La Fabbrica.
11. Station from Keope.
11
the ecological footprint of the production process. This revolutionary trend involves all areas of the industry, including raw materials
quarrying, reject management, reduced chemicals usage, water recycling, and communication through packaging and other marketing
tools to promote an awareness of this new approach to the market.
Digital technology and customisation
Product aesthetics are likewise seeing a return to simplicity with
perfect reproductions of wood, marble and stone. Following recent
advances in digital technology, these products are in no way inferior
to the original materials and are also available in an unlimited range
97
trends
12
13
of natural colours. Metallic tones combine with matter and lend
character, while braided nylon threads or carbon fibres incorporated
into the ceramic body create innovative graphic designs with a hitech effect.
Rough or smoothed textured surfaces and subtle shades of dove
and grey are stealing the show from more vivid colours and standard wallpaper effect decorations, but without detracting from the
popularity of “wall art”, the reproduction of highly detailed images
such as photos or paintings on a ceramic substrate. But customisation and the production of unique pieces remains the true revolution
in the sector, made possible by ultra-new printing techniques. A far
cry from screen printing or third fire processes, these techniques
allow photographic-quality realism and outstanding colour rendering to be achieved right from the first production batch. It is even
possible to print just one tile at a time without constraints in terms
of minimum production batches, which enormously increases the
modularity of ceramic tiles.
14
15
16
12. View from Lord.
13. Brillante from Fap.
14. Chic from Ricchetti.
15. Maxima from Saime SanProspero.
16. Saint Barth from Cir.
98
Micro mosaic trend
Alongside the large formats that are used to personalise public and
private interiors like paintings, we are seeing a trend in the opposite
direction with mosaics and micro mosaics. Previously produced in a
2x2 cm size, mosaics are becoming increasingly miniaturised and are
now available in a 0.5x0.5 cm size or smaller. The goal is to create
increasingly high-definition and realistic wall decorations, especially
when viewed close up. It is as if these micro format tiles were the
pixels of a computer screen or television that come together to give
form and definition to the images they are intended to represent.
The proliferation of colours means it is now possible to achieve
blends of infinite shades, no longer just in regular square mosaics but in all shapes and sizes such as strips, hexagons and meshmounted pieces in regular or offset patterns, ideal for the creation
of unique motifs, decorations and even three-dimensional pieces.
Recycled glass and metal combine with ceramic to create interplays
of sophisticated and unique mosaics.
17
18
19
17. Progetto 1 from TT120.
18. Il Labirinto from Ce.Vi.
Ceramica Vietrese.
19. Lava from Viva.
20. Ornamenti from Aquileia.
21. Pave Wall from Sichenia.
22. Urban Mood from Settecento Mosaici e Ceramiche d’Arte.
23. Ecostone from Garfloor.
20
21
Indoor and outdoor: design continuity
The ability to cover the entire range of tiles from micro to macro has
led to the systematic development of products created by designers
for designers. Meeting precise construction requirements, these tiles
are suitable for interior and exterior applications and have technical
characteristics that adapt to either situation for continuity of design
and colour. Super-thin wallcovering effect tiles are available for installation over existing surfaces or external walls without the need
for demolition work and without having to avoid porcelain for reasons of thickness. But almost paradoxically, at the same time we are
seeing the emergence of large thickness tiles (up to 20 mm) specially
designed for floating installation, particularly for raised floors and
dry application on sand or gravel. All of this would not be possible
if the ceramic sector had not achieved its technological goals.
The range of ceramic tile offerings is now so varied and versatile
that the renewed interest on the part of architects and designers
hardly comes as a surprise. These professionals are in turn opening
up new potential by cooperating with companies and together developing stylistically and technologically innovative products.
Elisa Pincelli and Katia Mattioli
22
@
23
Products Gallery
The whole Spring/Summer 2011 collection of Italian Ceramic
Tiles can be viewed online at:
www.laceramicaitaliana.it/products
99
book info
company catalogues
1
2
3
4
5
6
7
8
1. BIOS
Casalgrande Padana
Format: 21x29.7 cm
Pages: 154
www.casalgrandepadana.om/
www.biosinside.com
3. W-AGE
Provenza (Emilceramica)
Format: 21x29,.7 cm
Pages: 48
Photos: 24
www.ceramicheprovenza.com
5. OPIUM
LaFaenzaCeramica
Format: 25.8x33 cm
Pages: 32
Photos: 15
www.lafaenzaceramica.it
7. general catalogue 2010
Monocibec
Format: 23x29.7 cm
Pages: 192
Photos: 70
www.monocibec.it
2. 2011 collection
Del Conca / Faetano
Format: 16.8x23 cm
Pages: 496
www.delconca.com
4. Venere (Versace Home)
Gardenia Orchidea
Format: 24x31 cm
Pages: 32
Photos: 68
www.gardenia.it /
www.versacecd.com
6. PRODUCTS FOR CERAMICS
AND STONE MATERIALS
Mapei
Format: 21x29.6 cm
Pages: 80
Photos: 150
www.mapei.com
8. composite 2011
Refin
Format: 24x30 cm
Pages: 244
Photos: 70
www.refin.it
100
9. general
catalogue 2010
Rondine Group
Format: 21x29.7 cm
Pages: 160
www.rondinegroup.com
10. general
catalogue 10/11
Saime Sanprospero
Format: 21x29.7 cm
Pages: 292
Photos: 102
www.saimespr.com
9
@
10
11. GENERAL
CATALOGUE 2010/2011
Simas
Format: 23x29 cm
Pages: 416
Photos: 245
www.simas.it
11
12. warm stones
Tagina
Format: 23.5x23.5 cm
Pages: 47
Photos: 36
www.tagina.it
For information and to order copies of catalogues, send
email to: [email protected]
13. General
catalogue 10/11
Unicom Starker
Format: 27.5x24.5 cm
Pages: 268
Photos: 250
www.unicomstarker.com
14. Jorstone
Verde 1999
Format: 21x29.7 cm
Pages: 16
Photos: 8
www.verde1999.com
12
13
14
ADVERTISER’S INDEX
Casalgrande Padana - p. 102 - www.casalgrandepadana.com
Del Conca/Faetano - p. 4 - www.delconca.com
Emilceramica - p. 13 - www.emilceramica.it
Fincibec - p. 6 - www.fincibec.it
Gardenia Orchidea - p. 9 - www.gardenia.it
ImolaCeramica - cover - www.imolaceramica.it
Mapei - cover - www.mapei.com
Refin - p. 15 - www.refin.it
Rondine Group - p. 11 - www.rondinegroup.com
Saime Sanprospero / Alfalux - p. 46 - www.saimespr.it
Simas - p.34 - www.simas.it
Tagina - p. 3 - www.tagina.it
Unicom Starker - cover - www.unicomstarker.com
Verde 1999 - p. 73 - www.verde1999.com
101
The best defense
against water
NEW!
®
Mono-component, ready-to-use
flexible liquid membrane
for waterproofing under ceramic,
marble and mosaic laid on internal
and external surfaces.
•
•
•
•
•
Mono-component, ready-to-use
Quick drying
No reinforcement required
Rain dry after just 3 hours
Tiles installation after just 4 hours
with suitable adhesive
• Rooms treated with the product back
in use after just 1 day
• Leed credits:
up to 2 points for
regional materials
• All the above mentioned values only refer
to a temperature of +23 °C and a residual
humidity of 50%; the product must be applied
on dry screeds with a residual humidity inferior to 3%
www.mapei.com
ADHESIVES • SEALANTS • CHEMICAL PRODUCTS FOR BUILDING

Confindustria Ceramica

Transcription

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