|
|
|
|
Ceramics; magic balance |
The cultural and natural heritage provides a sense of identity and helps to differentiate communities within a general climate of globalization. It allows cultural communities to discover and understand one another and, at the same time, constitutes a growth motor. For the architect, it is paramount - now more than ever, in any part of the world - to come to terms with the present (technological innovations, changes to social behaviour, new environmental needs, etc.) and the past. The recovery of one’s architectural heritage indeed means to preserve one’s culture, historical memory and identity.
Historical constructions – both the monumental and the ordinary – were characterized by a strong link with the site of the settlement, by the use of culturally identifiable forms and, generally, by the implementation of locally produced raw materials. The careful monitoring of environmental-climatic variables, finally, rested on the adoption of technological implements that were tried and tested in situ over the centuries.
However, with the advent of industrialization and the consequent standardization of processes and materials, much of the knowledge of tradition was set aside, sometimes even lost forever.
Today, the new ‘ecological awareness’ is allowing us to rediscover the environmental quality of our building heritage. Historical centres and rural buildings or early infrastructures are being re-examined, rediscovered and revived, providing urban planners with useful and unexpectedly up-to-date advice.
In this context, the ceramic sector finds itself at a magic point of equilibrium. The outcome of long-standing traditions, today’s coverings marry an archetypical standard that is flexible in terms of the diverse applications (i.e. tiles) with technologies inspired more and more by history, culture and the environment (i.e. controlled use of raw materials, longer durability, enlarged capacity of reproducing antique finishing or natural effects).
Some of the most extraordinary results of this marriage are witnessed by hundreds of tourists who visit Italian cities of art. The terracotta pavement at the foot of Michelangelo’s David in Florence, the squares of San Gimignano, of Santa Chiara in Assisi, of San Domenico in Arezzo or the Vaticano Museum terrace are just a few examples. |
|
|
|