We talked about planning, visions, creativity, following the common thread of ceramic material and its feminine declination, during the talk promoted by Interni on Wednesday 29 September at the Café della Stampa Agorà dei Media in Cersaie. Giorgia Zanellato designer and founder of Studio Zanellato / Bortotto, Mara Servetto architect and founder of Migliore + Servetto Architects and Cristina Celestino designer and owner of Studio Cristina Celestino addressed the subject, led by Patrizia Catalano, an Interior journalist, and investigated the importance of the female vision in the project, in particular that linked to the ceramic universe.
The designers told the public about their experiences, the path that led them from the original concept to a standard or custom-made product, the choice of a precise material for the configuration of a space: a feminine tale of surface design, in particular that ceramic which is feminine par excellence, often soft and sinuous.
After the welcome by Gilda Bojardi, editor in chief of Interni, Giorgia Zanellato made her debut recalling her experience in the design department of Fabrica, a research center of the Benetton group and the opening, together with Daniele Bortotto, of their studio in Treviso in 2013. to whom they presented their first project, the Acqua Alta collection for Rubelli, at the Salone Satellite in Milan, a tribute to Venice that marked the beginning of a research on the relationship between places and the passage of time through analysis and reinterpretation of artisan techniques linked to the territory. After this first encounter with a textile surface, ceramic becomes material to tell stories, to recover history reinterpreted through a contemporary language: from the collaboration with Botteganove for a project on ceramic surfaces for the Moulin des Ribes in Grasse in France in which the coatings define the space much more than furnishings and accessories do, at Marea for DeCastelli a sideboard on whose changeable metal skin are composed rigorous shapes that trace the signs of time one on the other, at Dot for Delsavio 1910 homage to the tradition of Palladian flooring revisited in a contemporary key, a game of contrasts between the irregular pattern of the marble background and the perfect circles that appear there, up to the Storie for Cedit collection in large-format slabs (240x120 cm) that tell stories through alterations, wear, stratification of matter over time.
Mara Servetto underlined how difficult it is to define female creativity in the context of the architectural project which is a team work (women, men, young and old, architects and workers) not of a single person. He also recalled how during the months of the lockdown, above all, the shared space of the city that represents the future of the architectural project was lacking. A shared space that needs to be rethought, in which ceramics can play a leading role in the design of a new hospitality that imagines the city as a collective home. Examples are the Park Guell in Barcelona and the Copacabana waterfront decorated with the large patterns designed by Roberto Burle Marx that delimit the gap between the rushing time of the city and free time. Illustrating some of the studio's projects, Servetto reaffirmed the narrative and expressive value of ceramics (the Blue Line Park in Busan in South Korea is a linear urban park that extends for 5 km to the sea that rewrites the livability of the second Korean metropolis) , but also the technological and innovative one of antibacterial, self-cleaning surfaces that increase the comfort and well-being of an environment (Dmail New Format Store and Mondadori Store).
Finally, Cristina Celestino explained how creativity cannot be reduced to a mere question of gender and that there is no male and female planning, citing projects by Nanda Vigo (Casa Museo Remo Brindisi at Lido di Spina), Gio Ponti ( Hotel Parco dei Principi in Sorrento), Carla Accardi (the colored majolica panels for the town hall square of Gibellina Nuova) and Paolo Soleri (the facade for the Solimene Ceramic Art factory in Vietri sul Mare): each project is, in its own way , a hymn to ceramics now enhanced as a coating, now as a veritable monument to ceramics itself. He then illustrated some key points of his design: from the Charm of Nature, research and connections between different fields to address the stimuli that come from the material (Piumage for Botteganove, Palazzo Avino in Ravello, The Pink Closet always in Ravello) to the Italian Heritage a design attentive to tradition but open to the contemporary (Giardino all'Italiana, Giardino delle Delizie and Scenografica for Fornace Brioni, Policroma for Cedit), Tailor Made projects made to measure (from manual and three-dimensional decorations to Cotto Variegato always for Fornace Brioni ).