Today’s meeting introduced by Alfonso Panzani, Chairman of the Ceramiche Ricchetti Group, explored the current state and future prospects of the relationship between ceramic materials and architecture, between design and figurative culture, as well as the development of aesthetic tastes and the ability of technologies to respond to demand.

Orazio Lo Presti, a Florence-based trend setting expert, discussed “Cool gestures and actions” starting out from the increasing interplay between the various forms of expression. Developments in design, art and fashion have generated new needs in terms of aesthetic and technological research, he argued. As a result, the ceramic sector must evolve continuously in order to satisfy requirements of quality as well as choice of products. It is essential to rediscover authentic expression free from excessive consumerism. 

Veronica Dal Buono, Researcher at the Faculty of Architecture of Ferrara, discussed the theme of “Ceramic: an expressive material that combines technology, language and communication”. Innovation transforms ceramic materials from an everyday surface covering element into a complex article, an advanced component of building systems that combines aesthetic/functional values with constantly renewed decorative aspects, material research and optimised and fully researched technological properties. Combinatorial flexibility, reproducibility and sustainable productivity, as well as the intrinsic value of the material make it both a “designed material” and a technological product that is of interest both to the market and to architectural production. 

“From matter to material” was the title of the talk given by designer Glauco Gresleri. In spite of the constant development of tiles in terms of technological and stylistic innovation, architects have continued to use ceramic materials in a traditional way as finishing products such as floor and wall coverings. As in the case of cement which has evolved from a binding material to take on its own specific expressive qualities, new uses and new forms, architects now have the opportunity to launch ceramic materials towards the widest range of uses, such as new building and furnishing components. 

“Ceramic: only a covering material?” was the question posed by Chiara Baglione, Architect and architecture historian. In the works of some of the key figures in twentieth century architecture – from the Catalan Modernists to the Viennese Secessionists, from Perret and Berlage through to the masters of Italian modern architecture such as Gio Ponti – ceramic has been used for highly sophisticated applications reflecting the complex relationship between decoration, ornament and values of the building. Given the development of the sector and the consequent increase in the potential for use of ceramic, it is now useful to reflect on the expressive potential of this material through a comparison between works of contemporary architecture and historic examples in search of a “continuity” that is proving increasingly essential for authentic innovation.