Cer Magazine International n.20 - Tilmar Ceramics

CER MAGAZINE INTERNATIONAL N. 20 • FALL/WINTER 2007 • ISSN 1828 1109 • ANNO X • SPED. IN ABB. POSTALE • 

INTERNATIONAL 

MAGAZINE 

INTERVIEWS 

WITH MARIO BOTTA 

AND LUIGI ZUNINO 

THE LEEUM MUSEUM 

IN SEOUL 

EVENSONG SPA, 

A TRIBUTE TO 

FRANK LLOYD WRIGHT 

A FLOOR FIT FOR 

BMW AND 

ROLLS ROYCE 

CERAMIC TILE AND 

BATHROOM TRENDS 

THE GENERAL MILLS 

HEADQUARTERS 

A HOCKEY STADIUM 

FIT FOR CHAMPIONS 

THE PORCELAIN 

TILE HOUSE 

CERSAIE 

CELEBRATES 

25 YEARS

editorial 

A BIG RESPONSIBILITY 

Andrea Serri, 

Editorial Director of 

Cer Magazine Italia 

and International 

Cer Magazine 

“ 

Adoctor can bury his mistakes but an architect can only 

advise his clients to plant vines.” With this famous phrase, 

Frank Lloyd Wright cautioned students frequenting his 

house and studio, Taliesin, of the importance of good design right 

from the very first stages of an architectural project. 

These words have a special resonance today as we find ourselves 

surrounded by architectural monstrosities and are witnessing growing 

attention to both exteriors and interiors. 

These collective efforts include a strong commitment on the part of 

the materials manufacturers, and the Italian ceramic industry is no 

exception. Tiles and sanitaryware are playing a major role in this 

revolution due to their certified technical characteristics and the 

design content for which Italy is famous. The most innovative of these 

materials and products are being unveiled at Cersaie in Bologna, 

which this year celebrates its 25th anniversary with exhibitors from 32 

countries, a packed programme of events featuring outstanding guest 

speakers and an expected attendance of more than 90,000 visitors. 

Andrea Serri 

3

MAGAZINE 

INTERNATIONAL 

issue 20 - fall/winter 2007 

Promoted by 

in cooperation with 

Edited by 

Edi.Cer. SpA 

Publication registered at Modena Court of Law, 

no. 1784 on 18/01/2006 - ISSN 1828-1109 

Publishing director 

Alfonso Panzani 

Editorial director 

Andrea Serri (aserri@confindustriaceramica.it) 

Editorial staff 

Valentina Candini (vcandini@confindustriaceramica.it) 

Valentina Pellati (vpellati@confindustriaceramica.it) 

Simone Ricci (sricci@confindustriaceramica.it) 

Editorial secretariat 

Sara Seghedoni (sseghedoni@confindustriaceramica.it) 

Graziella Tosi (gtosi@confindustriaceramica.it) 

Contributors 

Riccardo Bianchi (AD) 

Donatella Bollani (Il Sole 24 ORE Arketipo) 

Virginio Briatore 

Oscar G. Colli (Il Bagno Oggi e Domani) 

Alessandra Coppa (Area) 

Katrin Cosseta (Interni) 

Silva Giani 

Santino Limonta (Ottagono) 

Luca Luberto 

Rachele Michinelli (Il Giornale dell’Architettura) 

Elisa Montalti (Rassegna) 

Francesco Pagliari (The Plan) 

Carlo Paganelli (l’ARCA) 

Laura Ragazzola (Casaviva) 

Livio Salvadori (Casabella) 

Simona Storchi 

Giorgio Tartaro (Casa & Stili - Alice Tv, Sky) 

Alfredo Zappa (Costruire) 

Maria Giulia Zunino (Abitare) 

Editorial offices 

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tel. +39 0536 804 585 - fax +39 0536 806 510 

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Printing 

Arbe Industrie Grafiche - Modena 

Italian ceramics are on display at 

October 2-6, 2007 • Sept. 30-Oct. 4, 2008 

www.cersaie.it 

© Edi.Cer. SpA 

Printed: September 2007 

Personal data processed in accordance 

with Italian Privacy Law 

(D.L. no. 196 of 30 June 2003) 

summary 

20 

32 

36 

84 

COVER PHOTO: Leeum Samsung Museum 

of Art (Seoul, ROK). Italian ceramic tiles by 

Sannini Impruneta 

Editorial 

A big responsibility by Andrea Serri 5 

News by Valentina Pellati 6 

Company Catalogues 98 

Library 99 

Events 

Cersaie celebrates 25 years of success 16 

by Valentina Pellati 

Ceramic tiles at the Milan Triennale 44 

by Silva Giani 

Interviews 

Meeting with Mario Botta by Livio Salvadori 20 

“We aim to become the leading Swedish 54 

tile distributor” 

by Simona Storchi 

“Creating new models of urban living” 80 

by Alessandra Coppa 

Interior Design 

The Porcelain Tile House 24 

by Laura Ragazzola 

Calibrated Modernity by Riccardo Bianchi 28 

Evensong Spa, a tribute 36 

to Frank Lloyd Wright by Giorgio Tartaro 

The Cyber Knife Clinic 40 

by Francesco Pagliari 

The Architecture of Languages 46 

by Virginio Briatore 

Catania Airport, where ceramic tiling 50 

replaces red-carpet treatment by D. Bollani 

Trends & Topics 

The multiethnic shower tray by Oscar G. Colli 32 

Ceramic trends by Katrin Cosseta 64 

The aesthetics of durability by Alfredo Zappa 69 

Architecture 

A floor fit for BMW and Rolls 56 

by Carlo Paganelli 

The Headquarters of General Mills 60 

by Santino Limonta 

Shopping Mania by Elisa Montalti 72 

In and around the AMK Hub 76 

by Rachele Michinelli 

A hockey stadium fit for champions 84 

by Maria Giulia Zunino 

The Leeum Museum in Seoul 88 

by Livio Salvadori

6 Cer Magazine 

MRZ: MATTER, FORM, COLOUR 

and Ideas 

THE COVER OF THE 

FIRST ISSUE OF MRZ 

MRZ is the new Marazzi 

magazine created to 

enhance the visibility 

of all stages prior to and 

including production, to 

describe the care and the 

methods with which Marazzi 

products are manufactured, 

and to offer instructions for 

use for architects and end 

users. In this first issue of the 

magazine, the Group’s 

chairman Filippo Marazzi 

describes MRZ’s mission: to 

showcase the best examples 

from the past and to illustrate 

the new trends for the future. 

In the Focus section the 

magazine explores the themes 

and meanings of the Le 

Lacche series, while the 

Sketch-Book section 

showcases unusual stylistic 

solutions. The Casa Marazzi, 

DESIGNTALESTUDIO LAUNCHES BLOG 

Refin Ceramiche’s DesignTaleStudio is a stream 

of ideas and projects, a research laboratory, a 

space where people and creativity meet. Set up in 

2005, it brings together the creative forces of 

communication experts, ceramic industry professionals, 

entrepreneurs, designers and artists who 

share the desire to innovate through ceramic. 

Using the most innovative ceramic techniques 

and strictly observing environmental requirements, 

DTS has created Tagli d’Autore, large-format 

ceramic tiles (30x120 cm) designed for use in 

everyday living spaces or trend-setting commercial 

areas. They are created using artisan materials 

and techniques that make each piece unique. The 

pigments, coloured glazes, precious metal oxides, 

lustres and glass granules are applied manually by ceramic artists 

and artisans using wet and dry high-thickness screen printing 

techniques, brushwork and other techniques. 

DesignTaleStudio is also a blog that narrates the experiences, 

events and players that are contributing to this Italian enterprise 

(www.designtalestudio.com). 

Masterpieces and Paesaggi 

sections feature public and 

private projects, while the 

Mode, Remind and Archive 

sections create a dialogue 

between future, present and 

past. The Technology and 

Glossary sections discuss the 

production process and new 

technologies and provide 

internationally accepted 

terminology. The New Words 

section rounds off the 

magazine with a glance at the 

worlds of contemporary art 

and design. MRZ director is 

Enrico Morteo, architect, critic 

and historian of design and 

architecture, while graphic 

designer Daniele Ledda is art 

director. They both cooperate 

with numerous companies and 

publishers in the furnishing 

sector. 

LARGE CERAMIC 

SHEETS ENTER 

INDUSTRIAL 

APPLICATIONS 

For submission of press releases : redazione@confindustriaceramica.it 

news 

NAXOS 

ADOPTS NEW 

FIRING LINE 

The Naxos factory in 

Solignano (province 

of Modena, Italy), owned 

by the Fincibec group, 

has acquired a new plant 

from the Siti-B&T Group. 

The plant consists of a 

single-layer roller kiln and 

an LGV storage and 

handling system serving 

the kiln and will produce 

white body monoporosa. 

It is due to start up by 

the end of the year. 

The agreement confirms 

the excellent relationship 

of trust and cooperation 

between the two ceramic 

sector groups. 

INTENSE 

ACTIVITY 

FOR ACIF 

The Emilceramica group 

member company Acif 

has made investments of 

several million euro in cutting-edge 

production 

plants, its research staff has 

developed product ranges 

reflecting market trends 

and the marketing team 

has developed a new coordinated 

image, catalogues 

and merchandising tools 

with the strategic objective 

of repositioning the company. 

The company intends to 

continue its growth based 

on a solid tradition in the 

ceramic wall tile sector and 

to consolidate its market 

position.


PIEMME AND VALENTINO 

celebrate thirtieth anniversary 

This year marks the 

thirtieth anniversary of 

collaboration between 

Ceramiche Piemme and the 

prestigious designer name 

Valentino. The idea that first 

occurred to Ceramiche 

Piemme’s chairman Francesco 

Zironi in 1976 and which came 

to fruition in 1977 with the 

signing of an agreement with 

the fashion designer remains 

highly successful today. 

The company’s focus on the 

high end of the market enables 

it to tackle international 

competition by excelling in 

terms of inimitable quality and 

style. Ceramiche Piemme will 

be celebrating together with its 

most important customers at a 

prestigious event organised at 

Palazzo degli Isolani during the 

forthcoming Cersaie. 

Collaboration with the designer 

HYDRA AND ART CERAM 

COOPERATE WITH YOUNG DESIGNERS 

Ceramica Vallelunga, a 

company based in Nepi 

(province of Viterbo, Italy) that 

specialises in interior floor and 

wall tiles, porcelain tile and 

terracotta, has started up a 

new Sacmi FMS 255 singlelayer 

kiln of length 73.5 

metres. The new kiln comes as 

part of the company’s project 

FRANCESCO 

ZIRONI AND 

THE FASHION 

DESIGNER 

VALENTINO 

name is set to continue 

considering that two Valentino 

tile brand stores have been 

opened in Shanghai and 

Chenzou and more are planned 

for other cities in China. 

Hydra and Art Ceram’s cooperation with two young 

designers has led to the idea of optimising the bathroom 

space by means of aesthetically appealing and yet highly 

functional sanitary fixtures. Marco Paolelli and Sandro 

Meneghello, graduates in industrial design from Milan 

Polytechnic who also have experience of working abroad, 

had the opportunity to show off their potential through a new 

series of ceramic sanitaryware presented at the Milan 

Furniture Show last April. 

“DIAL” COLLECTION 

VALLELUNGA ADOPTS SACMI TECHNOLOGY 

to increase its range of sizes as 

it is capable of producing 

500x500 mm size tiles. It offers 

numerous innovative features, 

particularly in terms of energy 

saving. The machine is 

equipped with the BSR system 

with heat exchanger to 

optimise heat consumption. 

The historic Nepi-based 

company, led by chairman 

Giuliano Brunelli and owned 

by the eponymous family, has 

now completed its growth 

project after the recent startup 

of a PH 3800 press and an 

EVA 984 dryer. 

news 

CERASARDA 

LAUNCHES 

NEW WEBSITE 

The new Cerasarda 

website is now 

online. Created using the 

latest multimedia 

technologies, 

www.cerasarda.it 

describes the company 

and its magnificent 

artisan work, the spirit 

and beauty of Sardinia 

through the use of Flash 

animations, audio and 

video content and a 

careful selection of 

images. In the short time 

since it was put on line 

the site has already won 

prestigious awards and 

has been widely praised 

for its aesthetic and 

technological quality. 

MARCA 

CORONA 

AT CERSAIE 

During the 25th 

Cersaie, Ceramiche 

Marca Corona will be 

holding an exhibition 

entitled “Il sentimento del 

tempo” in Palazzo dei 

Congressi in Bologna. 

The exhibition explores 

ceramic tiles from their 

origins to the present day 

in eight rooms devoted to 

the history and 

development of this 

product. The historic 

setting is reconstructed 

with elegance and 

attention to detail. 

The exhibition will be 

open on Thursday 4 and 

Friday 5 October from 

11.00 a.m. to 7.00 p.m.

C E R A M I C S 

INTRODUCING THE BRAND NEW MOMODESIGN CERAMICS COLLECTION. 

WWW.SERENISSIMACIR.COM 

D O N O T M I S S T H E W O R L D p R E v I E W I N B O L O G N A 

C E R S A I E - O C T O B E R 2 N D - 6 T H 2 0 0 7 - H A L L 16 B O O T H B 11 

W W W. M O M O D E S I G N . C O M


SICIS OPENS 

showroom in Chicago 

On 4 October Sicis will be 

opening a new showroom 

in Chicago which 

will join the existing three in 

New York, Milan and Dubai. 

The “Materials Marketing” 

building extends over more than 

300 square metres, making the 

Sicis exhibition an authentic 

“Shop within a shop”. The 

space is divided into three 

sections: the entrance gallery 

with the Neoglass, Mirror and 

Bathtub collections; the central 

section characterised by 

the back-lit Flower Power 

Mosaic collection panels; and 

the rest of the shop which 

showcases the Marble natural 

stone collection, the mosaicclad 

dummies, Metallismo 

Posh Pix and the many varied 

Sicis collections. Further 

showrooms are to be opened 

in the US in the near future. 

CASALGRANDE PADANA 

“PERCORSI IN CERAMICA” 

Issue number 15 of the Casalgrande Padana company magazine 

contains news and analysis on this leading ceramic company’s 

activities and initiatives in the field of porcelain tile production. It 

gives extensive coverage to the Creative Centre, the 

multifunctional facility in direct 

contact with the factory that 

combines creativity, communication, 

technical information, 

production and design. 

Further news items covered in 

the latest issue include the 

acquisition of Riwal Ceramiche 

(giving Casalgrande Padana a 

total capacity of 35 million 

sq.m in six different production 

facilities), the Premio Impresa 

Ambiente award for the 

category of “Best Management 

for Sustainable 

Development” and the Grand 

Prix 2005-2006 award 

ceremony held on 18 May in 

the splendid setting of Palazzo 

Vecchio in Florence. 

THE NEW 

MULTIFUNCTIONAL 

“CREATIVE CENTRE” 

Ceramica Del Conca 

group member company 

Ceramiche Pastorelli has 

won a prestigious new 

order. The company from 

Savignano sul Panaro 

(province of Modena, Italy) 

will supply ceramic tiles for 

the ten Volvo showrooms in 

Holland, the first of which 

has already been completed 

at Best with 60x60 cm 

“Quarz Design Fumé” tiles 

covering a total surface area 

of 3000 sq.m. The same 

series of tiles will also be 

used for the floor covering 

CAESAR EVENT 2007 

news 

PASTORELLI TILES FOR THE 

VOLVO SHOWROOMS IN HOLLAND 

in the other Volvo showrooms. 

The work on the last showroom 

will be completed by mid 

2008. Pastorelli reported a 

turnover of 43.6 million euro in 

2006 and employs 180 people. 

aesar Event 2007”, the opening of the new Ceramiche 

“CCaesar branch in Spezzano di Fiorano Modenese, will 

be held on 3 and 4 October during Cersaie. The constant 

modernisation of the production facility and the opening of 

new administrative and commercial spaces capable of hosting 

events demonstrates Caesar’s intention to invest resources to 

foster meetings with professionals, architects and buyers. The 

guests at the inaugural event, including Caesar’s customers, 

partners and local authorities, will enjoy an evening during 

which atmosphere, 

lifestyle and shared 

sensations will be the 

key elements of a 

fashionable 

environment. 

MAJORCA OPTS FOR TRENDSETTING 

The combination of 

“fashion and design” is 

increasingly seen as a 

symbol of Italian qualities 

worldwide, while “lifestyle” 

is a leading value within the 

Italian social context. The 

Majorca group has chosen 

to follow or if possible preempt 

this trend by 

undertaking a new product 

study based on an analysis of 

fashions and experience 

gained in “trendsetting” 

courses. For this purpose 

Majorca has turned to Andrea 

Leonardi, a professional 

specifically trained in 

trendsetting who has led the 

company in search of new 

trends, the results of which will 

be unveiled at Cersaie 2007.

Roberto Panelli Comunicazione 

The shade on shade graphics, the inter-weaving creating a slight contrast, the elegant and appealing texture: Arreda also dresses 

classic spaces, with a yearning for a contemporary feel. 

www.caesar.it/arreda 

WHERE MATERIAL BECOMES CULTURE


GLOBAL CONCEPT FOR 

Cooperativa Ceramica d’Imola 

As part of its “Global 

Concept”, Cooperativa 

Ceramica d’Imola is 

taking part in Cersaie 2007 with 

a single stand for all the Group’s 

companies: Imola Ceramica, 

Arkim, LaFaenza, Monoceram, 

Leonardo1502 and Omega. The 

“Global Concept” project was 

awarded to the Milan-based 

firm Original Designers 6R5 

Network, which worked in close 

cooperation with the company’s 

marketing department, while 

RONDINE TILES FOR HARD ROCK CAFÉ 

Italian ceramic tiles have been installed in the Hard Rock Café in 

Santo Domingo. Located in the heart of the colonial zone close to 

the city’s most important 

monuments (including the 

famous Catedral Primada de 

America), the structure is 

characterised by a perfect 

balance between the classical 

style of the capital and a series 

of innovative design elements. 

Rondine Group has 

contributed to the project by 

supplying 300 sq.m of 34x34 

cm porcelain tile (Vineyards 

series) whose warm terracotta 

tones are perfect for the café’s 

strong atmosphere. 

THE PROJECT CARRIED OUT BY 

STUDIO ORIGINAL DESIGNERS 

6R5 NETWORK FOR 

COOPERATIVA 

CERAMICA D’IMOLA 

the exhibit itself was designed 

by Turin-based Bodino Group. 

The stand, extending over three 

areas and inspired by a large, 

transparent home, extends over 

an enormous 1200 square 

metre area in Hall 36. 

THE LARGE ENTRANCE TO 

THE HARD ROCK CAFÈ 

news 

DEL CONCA 

GOES 

DIGITAL 

The Del Conca Group, 

which has achieved 

20% growth over the last 

decade and has its sights 

set on a 160 million euro 

turnover in 2007, has 

launched a research 

programme to introduce 

digital tile decoration 

technologies. “The 

research project, which 

involved an initial 

investment of a million 

euro and has a total 

budget of about 5 million 

euro, will make our group 

one of the first in the world 

to adopt this extraordinary 

technology,” explained 

sole administrator Enzo 

Donald Mularoni. 

ENZO D. 

MULARONI 

The figures for the first few 

months of 2007 have been 

very positive with a three 

percentage point increase 

in sales. “This result is 

particularly significant 

considering that Italian 

exports to the USA have 

fallen by an average of 20% 

and that this is one of our 

key markets,” commented 

Mularoni. “However, this 

negative performance has 

been offset by the 4% 

increase in sales to the 

European Union and the 

even more significant 

success in Eastern 

European countries, 

including a 15% increase in 

Russia.”

CERSAIE CELEBRATES 

25 years of success 

The leading international showcase of ceramic tiles and 

bathroom furnishings is celebrating the occasion with an 

outstanding programme of initiatives and events 

by Valentina Pellati 

“ 

Time is a gentleman” 

goes an old Italian 

saying. If something 

is not appreciated immediately, 

over the years it will 

gradually become visible and 

eventually be recognised for 

its true worth. This is in some 

ways the story of Cersaie, the 

exhibition created in Bologna 

as an offshoot of Saie 25 

years ago. From the initial few 

halls set aside for exhibitors, 

it has now grown into the 

most important exhibition for 

the ceramic tile and bathroom 

furnishing sectors anywhere 

in the world. 

At a time when trade fairs and 

exhibition centres are sprouting 

like mushrooms, this bold 

claim is backed up by facts, 

not words. For years the available 

space has been fully 

booked months before the 

show begins and this year the 

160,000 square metres has 

been assigned to a total of 

1,071 exhibitor companies. 

This is a staggering figure 

MARIO BOTTA 

IS THE KEYNOTE SPEAKER 

AT THE ARCHITECTURE 

CONFERENCE 

even without considering the 

long waiting list and the international 

scope of exhibitors (a 

total of 233 foreign companies 

from 32 different countries 

around the world). Cersaie 

is also a major media 

event attended by 600 journalists 

every year. Its global 

appeal is demonstrated by 

the fact that one third of the 

90,000 visitors who attend 

during the five days of the 

show (this year from 2 to 6 

October) are foreigners. 

So what is the recipe for Cersaie’s 

long and successful life? 

Rather than just one, there are 

perhaps many reasons for the 

show’s global success. One of 

these is its ability to interpret 

the times. Set up in response 

to the need for a worldwide 

events 

system of commercial relationships 

between the manufacturers 

and distributors - a 

role it continues to play today 

- each edition of Cersaie is in 

step with the times. This can 

be observed right from the 

very first day when the 2007 

inaugural conference - to be 

held on Tuesday 2 October in 

the Palazzo dei Congressi - 

will address a crucial aspect of 

political and institutional life in 

Italy. Entitled “Liberalisation: 

the state of progress”, the 

conference will be held in Sala 

Europa and will be moderated 

by Giuseppe Turani, columnist 

for the La Repubblica newspaper. 

It will feature keynote 

addresses by the Minister for 

International Trade and European 

Policy Emma Bonino, 

Pino Musi

the Chairman of Confidustria 

Luca di Montezemolo, the 

Chairman of Ferrovie dello 

Stato Innocenzo Cipolletta, 

the leader writer for Il Corriere 

della Sera Francesco Giavazzi 

and the Chairman of Confindustria 

Ceramica Alfonso Panzani. 

This major conference 

will focus on one of the key 

issues of Italian politics (considering 

the literal definition 

of “politics” as the management 

of public affairs in the 

Polis, or city). 

And it is the Polis, the city 

itself, that has become another 

key feature of Cersaie. 

Anticipating the trend whereby 

architecture has become 

one of the cardinal points of 

style and fashion, back in the 

year 2000 Cersaie began asking 

internationally renowned 

designers to create the 

poster for the exhibition. The 

posters were produced annually 

as a way of marking the 

passage of time and of 

emphasising the salient characteristics 

of each show. From 

the first poster designed by 

Sottsass through to the 2007 

version created by Japanese 

designer Toyo Ito, these 

images testify to Cersaie’s 

nature as an international, 

transversal and global event. 

As we said, time is a gentleman, 

and is perfectly capable 

of distinguishing form from 

substance, ephemeral from 

lasting contents. And the substance 

of Cersaie, in terms of 

its contribution to the construction 

of the Polis, is visible 

not only from the materials 

that are on display but also 

from the contribution of the 

great masters of contemporary 

architecture, the ones 

who are capable of combining 

project and inspiration, 

matter and light, materials 

and spaces to allow the city 

to evolve. With this in mind, 

the 2007 show features a 

keynote address by Mario 

BELOW: THE AUDIENCE 

AT THE CERSAIE 2006 

INAUGURAL CONFERENCE 

Botta on the morning of 

Thursday 4 October in the 

Palazzo dei Congressi. 

It is a short step from architecture 

to art, as demonstrated 

by the exhibition Creativitiles 

that will occupy the 600 

square metres of the Services 

Centre during the five days of 

the show. Sixteen masterworks 

of twentieth century art 

have been reinterpreted 

using modern ceramic tiles 

under the direction of Enrico 

Manelli. This clearly demonstrates 

not only the versatility 

of ceramic but also its ability 

to represent the many forms 

in which creativity is 

expressed. 

And the Polis, or to be more 

precise the Agora, the very 

heart of the city, takes the 

limelight at Cersaie 2007. The 

LEFT: CREATIVITILES 

IS HELD IN THE 

SERVICES CENTRE 

BELOW: 

THE POSTER 

BY TOYO ITO 


International Press Conference, 

to be held at 6.30 p.m. 

on Tuesday 2 October in 

Palazzo Re Enzo, facing onto 

Piazza del Nettuno in the 

Bologna town centre, will feature 

addresses by the Director 

General of the Italian 

Trade Commission ICE Massimo 

Mamberti, Confindustria 

Ceramica Chairman Alfonso 

Panzani, the Chairman of the 

Association’s Promotional 

Activities and Trade Fairs 

Committee Vittorio Borelli, 

and the Chairman of Mapei 

Giorgio Squinzi. Promoted by 

Confindustria Ceramica (and 

moderated by Director General 

Franco Vantaggi) in 

cooperation with ICE and 

organised by Edi.Cer. spa 

with the contribution of 

Mapei, this melting pot of 

information will see the participation 

of journalists from 

all over the world. 

17

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MEETING WITH MA 

A conversation with a key figure 

in international architecture 

by Livio Salvadori 

Imet Mario Botta in his Lugano studio, 

located on the top floor of a brickclad 

cylindrical building. The interior 

comprises a bright open space 

centred around a double volume that 

opens onto the various upper-floor 

workstations and the third-level 

suspended studio. Everywhere there is an 

“orderly disorder”: tables covered with 

sketches, rolls of drawing paper, models, 

samples of materials… Sitting at the 

meeting room table, we begin the 

interview. 

Livio Salvadori. Your work has always 

had a very distinctive style. The many 

different projects you have been 

involved in worldwide all display a 

strong personal character while fitting 

in with the existing building fabric. 

What is your design approach to the 

context? Is architectural space physical 

or cultural? 

Mario Botta. Architecture involves 

constructing the context. It is not an 

isolated object but an entity that by its 

very nature is rooted in a unique location. 

For this reason the setting is an integral 

part of the project and never an accessory 

element. We could say that architecture is 

the discipline that constructs the context 

(geographical, cultural, historical) rather 

than constructing within the context. The 

relationship with place takes concrete 

form through memory, which must always 

be interpreted through an act of 

architecture. This is the aspect that most 

distinguishes the European building 

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ARCHITECT FANZUN AG 

RIGHT: PRELIMINARY SKETCH FOR THE 

AROSA WELLNESS CENTRE 

FACING PAGE: PHOTOS OF THE LUGANO 

STUDIO 

Pino Musi 

fabric from other models, such as those of 

America or Asia. In Europe we always 

operate within a context of historical 

stratification, which is why a work of 

architecture cannot be considered an 

isolated object. The interpretation that is 

given to it must always be capable of 

becoming an expressive part of the new 

message. 

LS. The theme of light is a constant 

aspect of your work and is also crucially 

important in terms of composition, 

following a parallel design path to that 

of materials. The construction solutions 

you adopt are strongly oriented 

towards an architecture that could be 

defined as one of “solidity”, where the 

key elements are walls, the building

RIO BOTTA 

shell, thickness… the material qualities 

of the surface rather than transparency. 

How do light and matter coexist and 

interact in your work? What importance 

do they have in the definition of the 

project? 

MB. Light engenders space: without 

light there could be no architectural 

space. In my compositional studies, light 

plays a crucial role as a constituent 

element of architecture. A space created 

by side lighting is very different from one 

generated by overhead lighting. 

However, we must remember that light as 

an abstract entity requires materials in 

order to manifest itself. Materials thus 

assume a dual role: they lend visibility and 

substantiation to light, and thus to 

spaces, and underscore the aspect of 

gravity that is part 

and parcel of 

architecture. In its 

ultimate organisation, 

architecture 

entails the transmission 

of forces, 

tensions and structures 

that must be 

connected to the 

Enrico Cano 

ground. This idea of gravity has an 

enormous value as the physical 

expression of the relationship between 

new buildings and mother earth. Rather 

than resting on the earth, we can envision 

a building as emerging from its viscera. 

Instead of seeking to overcome the 

concept of gravity, architecture should 

harness it as an essential value for human 

living spaces. 

LS. Your works reveal a kind of 

declared “obsession” with the golden, 

perfect form and have strong symbolic 

connotations. Objects are always 

clearly defined, precise, meticulously 

designed and highly expressive. The 

very building we are in is a clear 

example of this. It is almost as if you 

derive from function not so much form 

MARIO BOTTA 


Initially inspired by Le Corbusier, 

Louis I. Kahn and Carlo Scarpa, he 

considers architecture and memory 

to be inseparable elements as 

the transformations wrought by 

architecture become part of the 

human landscape. 

The most distinctive features of his 

work are his use of light to engender 

space and his predilection for 

primary geometric shapes. From 

his first projects for single-family 

houses in the Ticino canton, he has 

progressed to many other kinds of 

buildings: schools, banks, administration 

buildings, libraries and 

museums, including MoMA in San 

Francisco and 

MART in Rovereto, 

as well as a 

number of places 

of worship in the 

last decade such 

as Evry Cathedral 

and a Synagogue 

in Tel Aviv. 

Beat Pfändler 

21

Pino Musi 

as symbols. Is that really the case? 

MB. In the Babel of languages that 

defines today’s operational context, I 

consider primary form to be a key 

architectural value for the very concept of 

living. I believe it is important to be able 

to recognise an image at a glance and to 

understand that what we are looking at is 

an apse, a church, a theatre or whatever. 

Meaning - more semantic than symbolic - 

is therefore fundamental. For this reason I 

prefer to work with simple shapes as they 

help to decode the quality of space. 

Heidegger observed that man inhabits a 

space when he has the capacity to orient 

himself within it. I believe this is a 

wonderful and very clear definition: a man 

who is able to orient himself in a space 

fully experiences the potential of his 

surroundings. If instead he is immersed in 

a labyrinth he will be condemned to move 

without this awareness and will experience 

a sense of malaise caused by his inability 

to perceive and control his space. 

One of the values that I see in the great 

architectures of the past is their ability to 

accentuate interpretational elements. 

This is the exact opposite of what 

happens with much of contemporary 

architecture, which provides orientations 

and cues not so much by means of its 

own tools but by continuously drawing 

from other fields (signage, advertising, 

etc.). This is another reason why I prefer 

Pino Musi 

to work with simple shapes in which 

geometry supports light and the final 

shape becomes a clear image. The 

“symbolic” factor (i.e. the ability to 

identify a meaning within the context by 

way of an image) is a direct consequence 

of the capacity to create an easily legible 

architectural form. 

LS. In other words it is a way of using 

extremely simplified shapes to 

interpret complexity... 

MB. Yes, it is a way of interpreting 

complexity and in a certain sense of 

opposing it. It’s a bit like when, in a 

sprawling and monotonous residential 

complex, we catch sight of an icon that is 

capable of acting as a point of reference 

for the whole. Today it is more important 

than ever for architecture to play this role 

because we have lost the identity of the 

city and the urban fabric is increasingly 

becoming a continuous agglomeration. 

When the architectural construction 

becomes a point of reference, the 

connective tissue may become less 

chaotic in spite of the multiplicity of 

languages. 

LS. Perhaps we could return briefly to 

the language of materials. A 

knowledge and skilful use of materials 

has always distinguished your work, 

your artisan skill in choosing and 

selecting combinations. This is a 

characteristic that was already clearly in 

evidence during your early training 

alongside masters such as Carlo Scarpa, 

Le Corbusier and Louis Kahn. What role 

do materials play in your architecture in 

terms of construction, composition and 

expression? And which materials do 

you prefer? 

MB. First and foremost, artisan skill is a 

component that plays a crucial role in the 

quality of the finished product. If I were to 

choose between a structure created using 

an artisan process and an industrial 

product, I would have no doubt that the 

first offers superior quality (a kind of 

memory of the physical exertion 

involved). 

The problem we are currently facing is 

how to coexist with dignity with the tools 

of mass production (globalisation). This is 

the real challenge facing today’s 

architects, who are called on to find 

expressive spaces to give new meaning 

to creative and building activities. In any 

case the artisan product (which becomes 

visible as it is created) is a form of

MART MUSEUM OF MODERN ART, 

ROVERETO, TRENTO (I), 1988/93-2002 

REFURBISHING OF THE TEATRO ALLA 

SCALA, MILAN (I), 2002-2004 

KYOBO TOWER, SEOUL (ROK),1999- 

2003, PARTNER ARCHITECTS, CHANG-JO 

ARCHITECTS 

“resistance” to globalised production, a 

way of correcting the homogenisation 

and trivialisation of modern building 

culture. Materials evidently play an 

important role in terms of the tactile, 

chromatic and sensitive aspects that are 

part and parcel of the usage of 

architecture. If I were offered the choice 

between a slab of granite and a sheet of 

aluminium, I would instinctively opt for 

the former. On the other hand we must 

also learn to use “historic” materials 

innovatively and to give them new 

meaning in the art of building. 

LS. Brick and terracotta are amongst 

the core materials of your work, but 

what do you think of ceramic tile, 

particularly in the light of your recent 

experience with the “Guscio” exhibit at 

the Milan Triennale? 

MB. We must learn to give expressive 

form to all available materials. Ceramic is 

CANTINA PETRA, SUVERETO (I), 2001-2003 

Young Chea Park 

an inherently natural product (made from 

earth and fire) that until now has had a 

prevalently decorative function due to the 

criticality of the joint between the 

different pieces for the majority of 

applications. The “Guscio” exhibit, 

organised in conjunction with 

Confindustria Ceramica, enabled me to 

experiment with the product’s expressive 

potential at a material, plastic and 

sensorial level. This involved creating an 

enveloping space where the problem of 

the joint was overcome (hidden) by 

adopting angle pieces that were installed 

as if they were plastic pilaster strips. The 

aim was to make the visitor feel as if he 

were cocooned by a new and at once 

ancient material that originates from 

mother earth. 

LS. Let’s take a look at the future. 

After a forty-year-long career, where 

will tomorrow’s Mario Botta be 

directing his gaze? What are the 

strategic development prospects for 

contemporary architecture? What are 

the dominant themes? Sustainability, 

energy efficiency, technological 

innovation, building techniques, new 

materials… How will these aspects 

affect the design and construction 

process? Will there still be room for 

poetry and creativity? 

MB. Architects will certainly have to 

come to terms with major technological 

innovations. The problem of resources 

will become increasingly urgent, so a 

parsimonious use of building resources 

will be essential. As regards architecture 

itself, I currently see the sphere of 

Enrico Cano 


memory as a privileged realm for the 

architecture of the future. There are two 

possible approaches: either we can strive 

to consolidate the city and its historical 

stratification, recognising in this a legacy 

of values that mankind still needs today; 

or we can counter this concept of the city 

with projects that sweep away what has 

already been built in order to make a 

fresh start (as is the case in America and 

even more so in Asia), constructing 

products with a determined lifetime and 

then beginning again from scratch. 

Naturally I believe this second approach 

to be mistaken whereas I am fascinated 

by the complexity of a model that 

operates within the context of historical 

stratification. Perhaps future projects will 

focus on reusing obsolete zones or 

structures (settings, architectures, objects) 

that will have to find new meanings while 

maintaining an important role in terms of 

memory. I should stress that this is the 

opposite of nostalgia: I have no desire to 

revisit the models of the past but rather to 

introduce memory as an expressive 

component of contemporary testimony. 

LS. So you believe that the themes of 

the future will involve using 

architecture to restore meaning to the 

context? 

MB. Definitely. In my opinion, the 

challenge of the future will be to find new 

uses and meanings within the historical 

stratifications created by the evolution of 

the territory. 

LS. During your long career you have 

designed a large number of buildings in 

more or less all fields of construction. 

Are there any projects you would be 

interested in but have not yet had the 

opportunity to work on? 

MB. I would like to tackle certain 

themes I have heard of only as a distant 

echo. I would like to work on the idea of 

the convent as a global institution, a 

structure for full-time living, a total living 

space where people can live, work and 

find hope, prayers and love… Perhaps 

that is the ideal home for human 

beings… 

23


Set in the hills near 

Piacenza, this villa plays on 

the volumes and textures 

of its cladding. The 

geometric austerity of its 

architecture is tempered by 

the profuse light that 

enters through the large 

front windows 

PORCELAIN TILE IS ALSO USED 

TO CLAD THE OUTSIDE OF 

THE VILLA (THIS PAGE AND 

OPPOSITE). 

TWO DIFFERENT-SIZED 

RECTANGULAR TILES ARE 

USED IN TWO DIFFERENT 

COLOURS. 

ONLY THE MAIN ENTRANCE IS 

FRAMED BY A PLAIN PLASTER 

SURROUND WITH A GLOSSY 

CEMENTITIOUS FINISH 

interior design 

The Porcelain 

TILE HOUSE 

PHOTOS Andrea Roscini 

DESIGNER Adriana Fantini, 

Tomassini Fantini Bolici Architetti Associati 

BUILDING CONTRACTOR Edil CBC 

DISTRIBUTOR Tiles Srl, Piacenza 

TILES Casalgrande Padana 

BATHROOM FITTINGS Ceramica Flaminia 

by Laura Ragazzola 

Compositional simplicity and essential layouts, 

spaces used to their maximum potential, natural 

light and a study of attractive, long-lasting materials 

were the guiding principles behind the 

project for this single-family residential unit designed 

by the TFB architectural studio. “The challenge was to 

adapt the austerity of the geometric shapes (three different 

volumes that fit one into the other) to a functional living space 

with distinctive, comfortable interiors whose large windows 

open onto the outside,” explained one of the designers. This 

is certainly the case with the daytime areas; on the same level 

as the garden, they extend outside via a portico. The night 

quarters, on the other hand, are more intimate. Located on a 

higher level than the living-room, they are also further back 

thanks to the steps set into the main façade. The wide entrance 

portal, set off by a white plaster surround, connects the 

night and daytime areas, linking them at the same time to the 

third volume located at the rear of the building where all the 

technological systems and services are housed. The modern 

slant given to the spaces and volumes is also reflected in the 

choice of materials, or rather material - porcelain tile produced 

by Casalgrande Padana - used for both the façade cladding 

and interior flooring. This achieves a sense of continuity 

between the “inside” and ”outside” of the house, extending 

it outwards by using the same covering material. In spite of

THE SLEEPING QUARTERS 

(TOP) AND DAYTIME AREA 

(ABOVE) ARE LOCATED SIDE 

BY SIDE ON THE MAIN 

FAÇADE, BOTH LOOKING 

OUT ONTO THE GARDEN. 

A PORTICO (LEFT) EXTENDS 

FROM THE LIVING-ROOM 

THROUGH TO THE OUTSIDE, 

THUS CREATING A RELAXING 

OUTDOOR AREA. THE SAME 

PORCELAIN TILE IS USED AS 

FOR THE INTERIOR FLOOR 

this, there is neither coldness nor uniform monotony because 

the use of porcelain tiles in different shades and sizes lends 

animation and plasticity to the volumes. No less importantly, 

this material provides exceptional mechanical strength and 

durability: here, more than elsewhere, the tiles play a vital 

role in preventing the deterioration of a façade that does not 

have the protection of a roof cover. 

The furnishings are perfectly suited to the clean lines of the 

house’s architectural style. Just a few, very essential furnishing 

items, all in white, dot the bright and airy rooms.


THE ROUNDED LINES OF THE 

SANITARY FITTINGS INSTALLED IN 

THE BATHROOM IN THE SLEEPING 

AREA ATTENUATE THE 

GEOMETRIC RIGOUR OF THE 

SHAPES THAT CHARACTERISE THE 

PROJECT AS A WHOLE 

THE DINING AREA, WHICH 

LOOKS OUT ONTO THE GARDEN 

(LEFT), IS IN THE SAME ROOM AS 

THE KITCHEN (FAR RIGHT). TWO 

SLIDING DOORS (SMALL PHOTO 

ON FACING PAGE) SEPARATE IT 

FROM THE LIVING ROOM 

THE LIVING ROOM IS FURNISHED 

WITH COMFORTABLE WHITE 

SOFAS (ABOVE) THAT CREATE A 

RELAXATION AREA RIGHT IN THE 

CENTRE OF THE ROOM. 

A CAREFUL CHOICE OF 

ORNAMENTS COMBINES ETHNIC 

PIECES (TOP) WITH DESIGNER 

OBJETS D’ART. EVERYTHING IS 

WHITE, STARTING WITH THE 

EXTRA-LARGE 30X60 CM 

PORCELAIN TILES SET IN A 

PERPENDICULAR LAYOUT 

WITHOUT JOINTS 

progetto


SANITARY FITTINGS: 

Ceramica Flaminia, IO collection 

Designed by: A. Duringer and S. Rosini (bathtub) 

A SHORT STAIRWAY 

(BOTTOM LEFT) LEADS TO 

THE SLEEPING QUARTERS 

(NEXT TO THE MASTER 

BEDROOM) AND A LONG 

ACCESS CORRIDOR FITTED 

WITH WARDROBES 


The flooring also makes a strong contribution, paved by 

extra-large porcelain tiles that amplify space. Only the night 

quarters have a warmer coloured floor, the bright colours of 

the bed linen punctuating the all-white austerity. Last but not 

least, the bathroom features a black and white design. 

TILES: 

Casalgrande Padana, Pietre Native, Meteor 

Laura Ragazzola, Casaviva 

MAIN TYPE AND SIZES: 

Porcelain tile 

60x60 cm, 30x60 cm, 15x60 cm and 7.5x60 cm sizes 

Colours: Almond and Noce 

SIGNIFICANT TECHNICAL SPECIFICATIONS: 

Bending resistance (ISO 10545-4): 50-60 N/mm 2 

Frost resistance (all standards): guaranteed 

Chemical resistance (ISO 10545-13): guaranteed 

Stain resistance (ISO 10545-14): guaranteed 

Resistance to wear and abrasion (ISO 10545-6): high 

Slip resistance (DIN 51130): R9 A 

27


Calibrated 

MODERNITY 

INTERIOR DESIGNER KATARINE NICOLIC- 

ZECHEVIC HAS USED TEXTURED CERAMIC 

TILING INSIDE AN URBAN VILLA IN BELGRADE 

TO CREATE A DECORATIVE COMPOSITION 

WITH GREAT SENSORIAL IMPACT 

A DETAIL OF THE WINTER 

GARDEN AT THE CENTRE OF THE 

COMPLEX: THE VEINED, EARTHY 

NUANCES OF THE CERAMIC TILES 

JOIN FORCES WITH THE WOOD 

AND LAWN, UNDERSCORING THE 

NATURALISM OF THIS INTERIOR 

DESIGN PROJECT


PHOTOS 

Dragan Bbovich 

DESIGNER 

Katarine Nicolic-Zechevic 

DISTRIBUTOR 

D.T.I. - S.A.B. Enterijeri 

TILES 

Ceramica Sant’Agostino 

Ceramica Fondovalle 

by Riccardo Bianchi 

The location, first and foremost, is key to 

understanding the significance of this project. 

We are in Belgrade, a city on the move, as stated 

in the title of an exhibition set up in the 

Architectural section of the Venice Biennale 

2006. Also in the pipeline are architectural-urban planning 

projects for the central area between the Danube and the 

Sava: however, to date the city has seen precious little 

good modern architecture. 

There are the national-romantic buildings by Plecnik, the 

follies by Klek (also known as Josip Seissel, founder of 

avant-garde movement Zenit), the attempts at 

functionalism of Branislav Kojic, Jan Dubovy and Dusan 

Babic, the large tenement houses of Ludwig Tomori and 

Nicola Dobrovic, the MoCAB Museum of Contemporary Art 

designed by Ivan Antic and Ivanka Raspopovic (wonderful: 

this work deserves a star). In short, not a lot, and all of it 

very “modernish”, which Le Corbusier dismissed with the 

scathing comment: “My God, what absolute 

monstrosities!” 

For that matter the New Belgrade designed in the socialist 

post-war period is, all things considered, anonymous, in 

spite of the ambitious towers by Mihajlo Mitrovic and 

Branko Pesic. Architect Bogdanov Bogdanovic, who was 

mayor of what is now Serbia’s capital from 1982 to 1986, 

says: “The New Belgrade as I remember it before I left was 

new and completely white … Now I find it dark and 

sombre, much like the images of an expressionist film such 

as The Cabinet of Dr. Caligari, all black or dark.” In view of 

A TILED CORRIDOR RUNS 

AROUND THE BEDROOM. 

RIGHT: ON ONE SIDE THE 

CORRIDOR OPENS OUT ONTO 

THE COMMUNICATING AREA 

BETWEEN THE COMMUNAL 

AREAS AND THE WELLNESS 

AREA DOMINATED BY THE MINI 

GREENHOUSE AND THE 

JACUZZI SUNK IN A CERAMIC 

SHELL. 


29 29


ABOVE: A SOBER NEO-MODERNIST 

STYLE CHARACTERISES THE DINING 

ROOM THAT LOOKS OUT ONTO THE 

WINTER GARDEN 

RIGHT: A "NEUTRAL" AREA 

CONNECTS THE SLEEPING QUARTERS 

TO THE JACUZZI ROOM. THE 

PARQUET FLOORING BECOMES AN 

ELEMENT THAT RESTORES THE 

DECORATIVE BALANCE BETWEEN 

THE LIGHT AND DARK TONES OF 

THE TWO SPACES 

THE TEXTURED 

CERAMIC 

COVERING 

CREATES 

A SUGGESTIVE 

ROCK FACE 

EFFECT 


these considerations, what we see here is even more 

remarkable for its calibrated, substantial modernity. It is a 

town villa set in the heart of Belgrade. 

Its architectural shell consists of a cage animated by lots of 

filled and open spaces and large areas of fenestration, thus 

reaffirming the pleasure of brightness as advocated by 

Functionalism in its origins. 

The best, however, is to be found within. It is here that the 

project interprets the blueprint of the building with 

unbridled freedom and imagination, giving rise to an 

animated choreography of spaces that converge, separate 

and interpenetrate, allowing for fluid functional 

expressions whose characteristic decorative and furnishing 

solutions are as innovative as they are appealing. 

The sleeping quarters, the corridors in particular, run 

between the perimeter wall of the residence and the walls 

of the master bedroom, thus creating a kind of functional 

hollow space which, on the one hand, serves to insulate and 

protect intimacy without suffocating it and, on the other, to 

balance the domestic microclimate and modulate the light 

according to the time of day and the seasons. This 

suggestive corridor is covered entirely with Italian-made


DETAIL OF THE BATHROOM: 

A COLOUR PALETTE BASED 

ON SERBIAN EARTH TONES 

CHARACTERISES THE INTERIOR 

TILES: 

Ceramica Sant’Agostino, “Pietre d’Italia” series 


Through-bodied porcelain tile 

Size: 30x60 cm 

Colour: grey 


Technical characteristics (UNI EN 14411 - Appendix G): 

compliant 

TILES: 

Ceramica Fondovalle, Serie Bi+Mix 


Through-bodied porcelain tile (“Bi+Fusion” double pressed 

ceramic tiles) 

Size: 30x60 cm 

Colour: Himalayan 


Chemical resistance (ISO 10545-13): guaranteed 

Wear and abrasion resistance (UNI ENI ISO 10545-6): 

average value 141 mm 3 

Stain resistance (UNI ENI ISO 10545-14): 5 

Frost resistance (UNI ENI ISO 10545-12): guaranteed 

Bending strength (UNI ENI ISO 10545-4): ≥35 (single ≥32) 


THE BEDROOM IS 

EXTRAORDINARILY 

WELL LIT THANKS 

TO THE CLEVER PLAY 

OF FENESTRATION 

AND SKYLIGHTS 

ivory-coloured ceramic tiles and features spotlights 

recessed into the walls and ceiling. The designer has 

resorted to some fervid creativity to maximise this space 

next to the bedroom, conjuring up a highly unusual 

“progressive” bathroom with amply spaced basins, 

showers and glazed apertures for visual communication 

with the sleeping area. 

Still within the sleeping quarters is the aesthetically 

impressive jacuzzi area. 

The two-person sunken bath is literally set in a naturalistic 

shell of black-veined, earthtone rectangular porcelain tiles 

(this size being the most popular on the Serbo- 

Montenegrin market). 

The same tiles are also used both for the walls that 

surround the bath, which creates a striking contrast with 

the greenery of the mini greenhouses-cum-skylights, and 

also for a partition wall in the layout of the outdoor garden, 

highlighting at the same time the natural minerality of the 

tile surface. 

Riccardo Bianchi/AD Project Consultant, 

courtesy AD Condé Nast 

31


The multiethnic 

SHOWER TRAY 

by Oscar G. Colli 

Exploring the history 

of this essential component 

of the modern bathroom 

trends 

As every schoolchild knows, in past centuries 

adventurous European travellers liked to 

embark on journeys to distant and unknown 

lands. They would return home from their long 

and sometimes dangerous travels laden with 

fabrics, spices and other products that they obtained by 

bartering with the people they met on their way. But above 

all they brought back with them a wealth of cultural 

influences that had a profound impact on European habits 

and lifestyles. Unlike their predecessors, modern-day 

travellers no longer journey solely towards the east. For 

several decades now they have also been heading west and 

wherever they stay these new “pilgrims in search of 

knowledge”, like their inquisitive forebears, continue to 

show a keen interest in the customs of the places they visit. 

They too return home with new ideas and knowledge that 

they integrate into their lifestyles. 

If we apply these introductory considerations to the 

microcosm of the bathroom, and in particular to the shower 

cubicle, we find that this is yet another area in which cultural 

contamination continues to play a positive role. The 

knowledge acquired in these multiethnic forays has always 

brought positive effects. This multicultural contribution 

represents globalisation in action, the functional expansion 

and aesthetic development of the bathroom worldwide as 

the natural result of exchanges between peoples. The 

process began at the end of the Second World War and 

continued through the subsequent events that shaped the 

geopolitical map of the planet. Since the 1950s, whether for 

work or for tourism, 

travellers have almost 

involuntarily contributed to 

the gradual improvements 

that have been made to the 

DIAL COLLECTION (DESIGNED BY 

MARCO PAOLELLI AND SANDRO 

MENEGHELLO) FROM HIDRA. 

100X80X6 CM. THE PROJECT 

STEMS FROM THE TRANSPOSITION 

OF THE SHAPE OF SWISS WATCH 

FACES INTO CERAMIC 

SANITARYWARE. A SIMPLE LINE 

THAT SEEKS A BALANCE BETWEEN 

THE CIRCLE AND THE SQUARE

trends 

A RATIONAL AND CLEAN 

LINE FOR THE ITO EXTRA- 

FLAT SHOWER TRAY FROM 

CERAMICA ALTHEA (120X175 

CM), ALSO AVAILABLE IN 

COLOURS YELLOW, GREY, 

BLACK AND RED 

bathroom. The shower enclosure itself has mixed origins, 

dictated largely by marketing experts and the worlds of 

production and distribution. 

Childhood reminiscences of the author of this article bring 

back memories of hotel bathrooms from long-ago holidays. 

These were very Spartan places with a miniscule shower 

area. Over the years, shower cubicles gradually became 

more spacious and user-friendly. The ceramic sanitaryware 

manufacturers developed larger sized products that allowed 

ablutions to be performed in complete safety and more 

comfortably even by overweight users. Square or angular, 

rectangular or round, but always generously sized, the 

fireclay shower tray has established a dominant position over 

the last few decades, largely as a result of the aesthetic 

contributions of industrial design. Other important factors 

include the increasingly numerous building refurbishment 

projects and the ever greater propensity to choose a 

comfortable shower enclosure in place of the traditional 

bathtub, the exclusive realm of the affluent since the early 

20th century. 

With the advent of multidimensional shower trays, an 

adequate level of attention to safety was required. As a 

result, they have gradually been equipped with mouldings 

and other improvements that eliminate all risks associated 

with their use. 

As for colour, shower trays have traditionally been white 

apart from a short period during the 1970s and 1980s when 

other colours appeared on the market. But chromatic 

simplicity soon returned to vogue and well before the 

other sanitary fixtures - WCs, bidets and basins - 

they went back to being strictly white. 

The wide dimensional range in which 

shower trays were soon available 

encouraged other companies to 

develop shower enclosures, an 

article that in reality had hardly existed 

previously. In place of the old-fashioned 

curtains and doors mounted on bath tubs, the 

sector has gradually evolved towards sliding doors 

and, ultimately, inward and outward swinging doors, a 

safe and convenient solution that allows ease of access even 

to the less able-bodied. A range of interesting offerings 


DROP SERIES FROM 

CERAMICA HATRIA. 

THE SHOWER TRAY 

INCLUDES INSPECTABLE 

AND EXTRACTABLE 90 MM 

DIAMETER SIPHON WASTE 

WITH CHROME-PLATED 

COVER. MADE OF FINE 

FIRECLAY, IT IS AVAILABLE 

IN 9 DIFFERENT SIZES 

(PICTURED: 80 CM CORNER 

VERSION) 

(ABOVE) DISH SHOWER TRAY (90X90 

CM) FROM CERAMICA TECLA. THE 

ELEGANCE OF THE LINES BLENDS 

WITH THE CLEAR CRYSTAL OF THE 

SHOWER ENCLOSURE. 

THE TRAY CAN ALSO BE COMBINED 

WITH THE FUNCTIONAL WOOD 

FOOTBOARD 

(FACING) SEVENTY SERIES FROM 

POZZI GINORI. MADE OF FINE 

FIRECLAY, THE SHOWER TRAYS IN 

THIS SERIES ARE EXTRA-FLAT WITH 

NON-SLIP SURFACE. PICTURED: 

100X80 CM ASYMMETRIC CORNER 

VERSION 

33


(BELOW) WATER DROP 

(DESIGNED BY LUCA CIMARRA) 

FROM FLAMINIA. 

THE CHARACTERISTIC TEXTURE 

OF THIS SHOWER TRAY WITH A 

MINIMAL DESIGN IS INSPIRED BY 

THE RHYTHMIC FALLING OF A 

WATER DROPLET 

ADDRESSES 

The addresses of the Italian 

ceramic sanitaryware 

manufacturers can be found at: 

www.italiatiles.com / 

Tiles & Us / 

The Companies / 

Ceramic Sanitaryware 

based on various combinations are available, including 

shower entrance areas which can be used to hang clothes 

and bathrobes. The whole space is delimited by highly 

resistant toughened glass with safe, small-sized 

and visually attractive profiles. These are all 

technical as well as stylistic aspects 

that make shower enclosures 

less invasive, whether they 

are intended for private use or 

in hotels and other hospitality 

facilities. The sector is therefore in a 

state of “work in progress”. Numerous 

manufacturers are offering shower enclosures with 

additional functions such as colour therapy, Turkish baths 

and saunas, which gives an idea of the kind of versatility that 

is required to satisfy an increasingly discerning clientele. 

The characteristics of shower enclosures and ceramic shower 

trays - available either flush with the floor or with raised 

edges - owe much to the sensibility of the designers and 

manufacturers. However, we should not forget the 

contribution of the many travellers who embraced new ideas 

and customs as they explored the continents. These 

cosmopolitan wayfarers were the bringers of ideas and coarchitects 

of a constructive contamination. 

Oscar G. Colli, il Bagno oggi e domani 

trends 

(FACING) THE VERSO SYSTEM 

FROM CATALANO CONSISTS OF 

4 SIZES (120X80 CM, 100X80 CM, 

80X80 CM AND 90X72 CM), ALL 

WITH A SMALL 6 MM THICKNESS 

TO ALLOW INSTALLATION EITHER 

FLUSH WITH OR RESTING ON THE 

FLOOR 

(BELOW) ECOSCAPE (DESIGNED 

BY MASSIMILIANO ABATI) FROM 

GSG CERAMIC DESIGN. 

AVAILABLE IN 80X120 CM AND 

80X140 CM VERSIONS AND 12 

COLOURS, THE DESIGN IS INSPIRED 

BY THE STONES THAT ARE FOUND 

ON A RIVERBED, WHERE WATER 

PERFORMS ITS ETERNAL TASK OF 

EROSION AND CHANGE 

(ABOVE) THE RONDO SHOWER 

TRAY FROM CERAMICA GLOBO. 

DIMENSIONS: 75X75X11 CM

Cer Magazine International n.20 - Tilmar Ceramics

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