TILE TODAY 91
FULLY ENDORSED BY THE AUSTRALIAN TILE COUNCIL
CONCRETE EFFECT TILES SHOW SUBTLETIES OF TEXTURE A MELBOURNE SUSHI BAR GETS THE TILE TREATMENT
CERSAIE 2016 REVIEW
TRENDS
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PROJECT SPOTLIGHT
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M A R K E T U P D AT E
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INDUSTRY NEWS
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91
contents
TILE TODAY
ARCHITECTURE & SPECIFICATION 30
Melbourne gets its own tiled sushi bar
46
A healthy food destination made from tiles
MARKETS AND TRENDS 8
Two perspectives on Cersaie 2016
36
Developments in concrete-effects tiles
44
Large format tiles maintain their popularity
54
The ceramic tile market shows stability
INSTALLATION 60
Managing around moisture issues
66
Building codes and waterproofing bathrooms
REGULAR ARTICLES 68
Featured Products
72
Industry News
77
Advertiser Index
READ ON THE GO: Scan code to view the latest FREE digital versions of the magazine on our website. Simply click on the front cover once you have scanned the code.
RHOMBUS
The RHOMBUS series is a geometric wall tile with the potential to mix and match colours and create custom patterns.
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FO REWOR D
MEET THE TEAM
The strong influence of Cersaie 2016 is evident throughout this issue of Tile Today. As the industry’s biggest event, it remains an authoritative voice in terms of setting major trends and developments in tile production. We provide comments on the latest exhibition from notable Australian visitors to the show including Bob Beaumont from Beaumont Tiles and Brooke Stuart from Colortile, to name a few. They provide valuable insights as to what type of tiles we could be seeing in the local market.
Vicky Cammiade Publisher
In other stories, a sushi bar in Melbourne’s CBD is testament to the aesthetic appeal and effectiveness of tiles in a hospitality environment. The same can be said of SHOT, a heathy food restaurant in London, that is also featured in this edition. We also take a look at the latest offerings in concrete-effects category and the continuing popularity of large format tiles. The latest statistics indicate stability in the ceramic tile market with only North America (including Mexico) experiencing significant growth in consumption and manufacturing.
Betty Tanddo Editor
Technical issues explored in this edition involve managing moisture and the building code when waterproofing bathrooms. Regular readers of Tile Today may have noticed some subtle changes to the magazine. A new editor, Betty Tanddo, has taken over the editorial reigns. Betty has extensive experience in business-to-business publishing across many different industries. She would be happy to receive comments or feedback. Simply email her on betty.tanddo@elitepublishing.com.au.
Ashley Cooper Group National Sales & Marketing Manager
We wish all our readers, advertisers and supporters a safe and enjoyable holiday season. Looking forward to working together in 2017. Vicky Cammiade, Director & Publisher Elite Publishing Co Pty Ltd Anthony Stock Contributing Editor
T I L E T O D AY 91
TILE TODAY 91
FULLY ENDORSED BY THE AUSTRALIAN TILE COUNCIL
2016
Philip Ashley Machinery Editor
FRONT COVER IMAGE Geobrick is the new flooring collection from Monocibec that is dedicated to outdoor areas. The fine porcelain stoneware tiles have a specific grip finish that is suitable for the outdoors, even in less-than ideal conditions, that can reduce the risk of slipping.
CONCRETE EFFECT TILES SHOW SUBTLETIES OF TEXTURE
Joe Simpson International Correspondent TRENDS
6 | TILE TODAY #91 | www.tiletodaymagazine.com.au
A MELBOURNE SUSHI BAR GETS THE TILE TREATMENT
CERSAIE 2016 REVIEW
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PROJECT SPOTLIGHT
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M A R K E T U P D AT E
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INDUSTRY NEWS
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C E R SA I E 2016
Casa Dolce Casa’s 600 x 1200mm Grigio is an example of large format product. (Image courtesy Di Lorenzo, NSW).
Cersaie 2016:
Simply bigger and better
Tile Today visited this year’s event and saw a move towards larger-sized tiles and the return of terracotta.
C
ersaie is undoubtedly the tile industry’s equivalent of the ‘Theatre of Dreams’. Serious buyers from every country flock to the fair to see the very latest tile designs and trendmaking products. Ceramic tile is one which constantly evolves in regards to its surface qualities, shape, thickness and format. The vast majority of these changes are subtle and progressive, but some hit you like a freight train. About 15 years ago, a small number of leading manufacturers acquired technology and machinery from Italian company System SpA, a trail blazer in machinery design and technology. The resultant 3000 x 1000 x 3mm giant units of porcelain have been described as slim tiles, slabs and panels. The tile industry believes they are too big to be a tile, and the stone sector says they are too thin to be a slab. Consequently, any product which is 7mm or less in thickness and no larger than 1000 x 1000mm can be
8 | TILE TODAY #91 | www.tiletodaymagazine.com.au
classified as a tile. Larger, slim (3mm to 7mm products) are panels and 12mm to 20mm products are slabs. Initially, these products were frowned upon by many buyers. Tile fixers ran a mile and specifiers were intrigued, but puzzled. At Cersaie 2016 large slim tiles, panels and slabs were everywhere. The impressive 6mm offerings are gaining admirers in Australia and international markets. Slim products were displayed in conventional formats such as 300 x 300mm, 600 x 600mm and giant 3000 x 1500mm, 12mm and 15mm slabs that can be used on kitchen benchtops. A growing number of manufacturers have mastered the art of decorating these vast canvasses of porcelain using the latest advances in digital ink-jet technology. (The results can be seen in the main image above.) Where tolerances allow, large slim materials can be installed over existing tiles. This process reduces mess, time and expense.
Alternatively, large panels or units cut into sub-formats can be installed on internal walls or external facades. Slim 3mm product can be adhered to furniture or wall surfaces, 6mm product can be used on flat walls and floors, while thicker 12mm and 15mm panels can be used on counter tops. In theory, these products should be easier to handle because they weigh less than conventional materials but there are still many fixers who do not own the machinery required to cut slim products, or possess the skills required to install them. Yet Cersaie 2016 confirmed that these products have become a significant development in tiles. They are not a new trend, but like any significant technological advance, the associated products and techniques continue to evolve.
Main trends Every buyer hopes they will discover the next major trend but some are constrained by the particular needs of the organisation they represent.
C E R SA I E 2016
In general, only a portion of the latest products displayed at Cersaie are produced if the orders placed at the show – or soon after – reach the required figure. Only the biggest companies can make large stocks of new products. To complicate matters, many new trends in colour, decoration and texture are attempted by a variety of manufacturers and obviously, some will succeed more than others. Tile Today spoke to a number of people from the Australia at Cersaie 2016 who have vast collective experience of successfully buying, selling product and predicting industry trends. Beaumont Tiles’ Managing Director, Bob Beaumont said: “I have been in the tile game for about 50 years and I still get excited about going to the Bologna fair! A bit sad, I know, but I just love to see the innovation, imagination and sheer creativity of the tile industry brought
together into one dynamic place. “Although this year was very much an evolutionary year without much radical change, the trends I noticed were a lot of stone and marble and a huge amount of timber but not a lot was brilliantly realistic. There was less concrete look (thank goodness) and it was softer. “Of course, slabs were everywhere. There will eventually be a rationalisation of the style/ function dichotomy in that space. “There was still some structure and shapes including some hexagonal. “Glass mosaics really fell off the scene but some ceramic mosaics were evident. Surprisingly I saw very little colour. “Bricks were much less in evidence but we saw the beginnings of some textile finishes. Visually exciting, were decorated large slabs in all sorts of styles. It will be interesting to see how this washes out.
“There was also some terrazzo look product and interestingly, some 200 x 200mm.” More tile is exported in New South Wales than any other state in Australia, so what some of the major NSW-based merchants think about product trends can have a strong influence on the local market. Brooke Stuart is the Managing Director of Colortile. She stated: “Apart from the expected concrete, timber and white marble trends, it was good to see some colour being reintroduced. Personally, I love the chevron patterns in timber but they are rather expensive and limited at the price point in my market. The thin, large format panels were really quite amazing, although the handling of these materials will require major changes to the way product is handled and manoeuvred. The few large format tiles that we have been handling so far have been very problematic onsite.”
LEFT: The lustre of stone shines through on Timeless, a large format porcelain product. (Image courtesy Beaumont Tiles). TOP: A growing number of tilemakers displayed extra thick 20 mm products like Caesar’s Aextra 20.
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ABOVE: Chamarel by Naxos illustrates the trend to herringbone and chevron laying patterns.
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C E R SA I E 2016
Richard Mackenzie, Managing Director of Ocean & Merchant, noted that cotto (terracotta), the prime ceramic material is making a long, overdue comeback. He said: “This year, Cersaie offered diversity as it seemed that many manufacturers were ‘trying out’ new directions. “There were splashes of colour everywhere, many pastels featured as did many ranges of smaller tiles, and printed and relief pressed decors. “Porcelain copies of cotto, as well as in natural cotto, have sprung back to life after ten years in the wilderness. “Larger porcelain tiles made it onto stand after stand, many of them with stone style copies and a lot of variation within the patterns. Colouring with these tiles trended in tones that were more ‘earthy’.” Adam Er of Tile Power commented: “Cersaie reflects the competition which exists between the world’s leading manufacturers of ceramic tile. Once again, there were advances in cutting-edge design and style. New technologies have produced impressive replications of timber, natural stone and concrete. We were overwhelmed by an abundance of new textures, styles and finishes, and the use of colour. “We were particularly impressed by an earthy styled stone-look series which exhibits a unique dimensional depth and ultra-realistic feel and texture. Blackboard is available in a broad colour offering and it will be a key element in next season’s premier launch.” WA-based Peter Carter is the president of the Australian Tile Council and Managing Director of Crosby Tiles. He said: “Not only did we observe the usual formatted product of realistic stone, concrete, marble and timber but it was the amount of accompanying larger sizes, complementary smaller feature sizes and matching thicker 20mm, for outside paving, that was noticeable this year. “We also noted the digital printing of smooth cut stone. One we saw had an interpretation of the surface, featuring the marks left by the blades and differently coloured strips. 12 | TILE TODAY #91 | www.tiletodaymagazine.com.au
LEFT: These Classic Italian cotto (terracotta) 70 x 280mm ‘fingers’ are available from Ocean & Merchant, NSW. ABOVE: This image of Tapestry tempted one visitor to get in touch. (Image courtesy of Crosby Tiles, WA). BELOW: Antique Rustic is simply too distressed for words. (Image courtesy of Crosby Tiles, WA).
“There were many feature walls of uneven stone imitation for areas traditionally dominated by the authentic product. “There was also a new product that looks like it has been recycled from old traditional floors and tapestry and textile – but much more versatile and durable than the real thing. “And as for wall tiling, complementary sculptured and moulded decoration features were the rage.” Lorenzo Colussa from Metro Tiles in Queensland commented: “The prime trends we noticed included an increase in the number of companies offering 1500 x 3000 x 6mm panels which imitate stone, concrete and in particular marble. ”The 3000 x 300 x 6mm planks of timber were impressive. “Regular 10 mm thickness tiles are now available in large 750 x 1500 mm formats.
“Increasingly, there has been a distinct increase in the number of bold decorative tiles, principally designed for use on bathroom walls. These are speciality products, rather than high volume. “We’re spoilt for choice; and imitations of timber were prominent. “Pastel colours are back and sizes just continue to increase.” Peter Halliday of Decor8 Tiles in Victoria has attended Cersaie on more than 20 occasions. Peter was particularly impressed with the advances made in regard to texture.
C E R SA I E 2016
He explains: “Each year we see incremental advances in the surface finish and textural effects which permit manufacturers to emulate the appearance of wood, stone, concrete, even metal. I noticed distinct advances in replications of linen-like fabric finishes. The Italians do it well. “Big tiles, big slim panels, were everywhere, including highly decorated products. The replications of timber were so convincing it is becoming extremely difficult to define if it’s wood or ceramic. “I noted that System SpA have launched Gea, their next evolution in ground-breaking slim product. These enormous panels can be pre-cut at the factory into smaller sub-formats, or they can be shipped whole and cut on site. “System is no longer alone, Sacmi have released the Continua line which includes twenty-seven 3mm to 20mm thickness large format products. “Laminam has started up its fourth production line which produces 1600 x 3200mm slabs in minimal thicknesses.” Peter was also struck by the number of companies marketing 20mm thick porcelain products “principally designed for external use”. He also asked “where have all the flowers gone?”
Suprisingly, the advent of advanced digital decoration has resulted in a significant decrease in the number of companies rendering floral decorations – geometric or otherwise – on tile. However, it should be noted that this trend has been observed at other times and floral ceramic tile designs tend to reappear consistently. Sandy Hercus of Southern Cross Ceramics in Victoria brings a different perspective to the table. Sandy is the company’s Sales & Marketing Manager, and was looking for style references that will influence the type of products it will stock for the local Australian market. He said: “While a resurgence in colour was not prominent at Cersaie, the colour palette definitely went up a notch from a technical perspective. Warm greys and blue were particularly evident. “All the recent trends are being consolidated by the addition of texture. Manufacturers can still produce tiles with a regular, flat glazed finish, but is becoming increasingly rare. Texture and tactility has been added to timber, stone and encausticlook products. “In regards to decoration, the key themes were herringbone/chevronlike designs and the introduction LEFT: Fondovalle SpA launched Acidic Metal Color large format panels. RIGHT: Treverkmust by Marazzi is available in two versions, one which has saw-cut and knot effects combined with veining and colour variations, while the Selection finish is knot and blemish free. BELOW: Landstone by Cerdisa is available in five formats ranging from 300 x 600mm to 1200 x 2400 mm.
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of fabrics, in the form of linen and weave-look products. There were a number of impressive rustic stone textures.” Sandy also attended the Tecnargilla event in Rimini (Italy), an exhibition which showcases the materials and technologies that will shape the tile and brick industries of the future. “Much of what you see at Tecnargilla eventually influences the tile decoration and production trends that flow through at Cersaie. Two years ago, System introduced technology to add texture, now it is available en-masse. “We can look ahead to digital printers which can read the 3D structure of a material and match it to the printed colour. A few companies already possess that technology, expect the number to increase rapidly. “Right now the impressions of timber are so realistic, they simply blow you away…Currently everything being worked on supports the drive to authenticity in appearance,” he said. Sandy was also impressed with a number of pressed metal and metallic finishes. “The large three metre panels of product were simply stunning, and the large imitations of timber were very powerful.”
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C E R SA I E 2016
LEFT: A collection of Marazzi products which illustrate the variety of formats which are available. BELOW: Exquisite decoration by Bardelli.
Sustainability statistics The stunning portfolios of product at Cersaie 2016 are matched by environmental credentials that should encourage buyers to favour Italian-made tiles. Some facts include: • Italian ceramic tile industry energy consumption has declined by 47 per cent since 1980. • It recycles 99% of waste created during the production processes and incorporates the recycled waste of other industries as well. • 100% of waste water recovered and reused by Italian ceramic tile manufacturers.
Leading the charge Figures published for the first part of 2016 indicate that sales of Italian tiles in every market have increased – with the exception of Africa. Southern Europe is particularly resurgent, in terms of value and quantity. To put the Italian achievement in perspective, the following data should be noted: • In 2015, Italian ceramic tiles supplies 15% of worldwide market but generates 30% of global industry turnover. 16 | TILE TODAY #91 | www.tiletodaymagazine.com.au
• China, Italy and Spain produced 63% of ceramic tiles manufactured in the last calendar year. Specifically, China: 33% quantity and 29% value; Italy: 15% quantity and 30% value; Spain: 15% quantity and 14% value. Italy may no longer lead the way in terms of volume, but it is second to none in terms of product quality and development. To emphasise these points, a number of new strategies have been developed. The Italian industry is seeking to differentiate itself from its competitors by making a committed effort to present ceramic tiles as contemporary, artful and youthful. Videos shown at the press conference featured designers and focused on behind-the-scenes aspects of ceramic tile production. They focused on the colourful, creative elements rather than the more prosaic, mechanical stages of production. Tiles are being marketed as fashionable consumer items, rather than a functional acquisition. The Italian industry is placing an emphasis on its environmental credentials. Its prime objective is to communicate that ceramic tiles which faithfully replicate the appearance of other products, will last longer and be easier to maintain. In 2015 Italy produced 394.8 million square metres of tile. Amazingly they exported 316.6 million square metres.
Added attractions The ‘Building, Dwelling, Thinking’ programme of seminars included 46 speakers, featuring architects, designers, graphic designers, economists, writers, filmmakers, photographers, art directors and editors. Tile fixers were intrigued by ‘Tiling Town’ a workshop and exhibition staged in Area 49 of the show. ■ David Stock attended Cersaie, Anthony Stock assisted with research and journalism. On-site photography by David Stock.
Seen at Cersaie While visiting Cersaie 2016, Tile Today made the following observations. • Dress code: tiles with the appearance and texture of garments (ie. denim) and other textiles. • Three-dimensional products with surface effects and quite elaborate tactile patterns and attributes. • Pop Art and photography (mostly black and white from examples shown) commemorating icons of art and cinema. Some products appear to have a slightly surreal aspect to them. • Norwegian Wood: herringbone patterns and parquetry; very rich, dark, rustic and autumnal hues such as maroon, burgundy, navy blue and dark Brunswick-y green. • Rolling Stone: marble-look products (grigio, nero, bianco, cioccolato) and warm “sandstonesque” products for outdoor settings and applications. • Six-sided hexagonal tiles boasting smaller triangular patterns, blended with complementary star-shaped tiles to form geometric designs. Foursided trapezoid products were also prominent. • Art Nouveau and art deco retro influences were apparent. Pictured: (Top) Everstone displayed a compelling variety of geometric designs. (Below) Ezarri showcased its new mosaic collections. (Image courtesy of Europe Imports).
C E R SA I E 2016
Fabric-effects, luxury bathrooms and “greige” dominate
The W_All wall tile range from Flaviker.
Joe Simpson reports on the style influences at this year’s Cersaie 2016 event.
T
he 2016 edition of Cersaie, held in Bologna, Italy from September 26 to 30, consolidates its position as a key event for developing global business in the ceramic floor and wall tile and bathroom furnishing sectors. This year, there were over 106,000 attendees which is almost 5,000 more than in 2015, or a 4.7 per cent increase. International visitors exceeded 50,000 for the first time in Cersaie’s history.
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At the most recent exhibition, there was a huge variety of impressive new tile designs with real commercial potential. The possibilities of digital glazing were on display as manufacturers are now able to exploit the full potential of digital ink jet decoration. Many of the major design trends of recent years, such as faux wood, concrete, light marbles, brick patterns, chevrons, 3D and distressed decors, were on show once again. Rather than running out of steam, they have developed in different directions.
Some tile makers tried to link all these themes in one collection. Perhaps the best example was the W_All wall tile range from Flaviker. It goes beyond the traditional concept of colour range and features a selection of surfaces, each characterised by different tactile and visual perceptions. W_All combines the qualities of stone, plaster, marble and wood. The collection features six colours: White, Milk, Stone Beige, Stone Grigio, Statuario and Wood Beige.
C E R SA I E 2016
Fabric-effects This year, fabric-effect tiles set the design trend. Building on some of the prototypes launched last year, many of the leading Italian factories came through with designs that are infinitely superior to the awful patterned carpet effects and dodgy faux fabrics of the past. It was no surprise, given the wonderful denim-look tiles it displayed last year, that the outstanding example of this trend came from Ceramica Sant’Agostino. The Tailorart collection is the latest manifestation of the company’s +Art concept. And it looked truly magnificent. The surfaces are beautifully textured, soft to the touch and elegantly coloured. Furthermore, the five colours and different formats can be combined in many effective ways to create arresting, yet restful, interiors.
Atlas Concorde’s Room range is inspired by furnishing fabrics and carpets BELOW: Trame is a fabric-effects collection from Lea Ceramiche.
Other manufacturers joined Sant’Agostino in launching wellconceived fabric-effect ranges. Atlas Concorde’s Room is a selection of coordinated floor and wall tiles inspired by eye-catching furnishing fabrics, wallpapers and carpets, featuring minimalist micro-textures and sophisticated decorations. 20 | TILE TODAY #91 | www.tiletodaymagazine.com.au
Room’s coloured body porcelain floor tiles evokes precious fibres and presents a full-bodied, consistent pattern. The rich texture features a dense weave of warp and weft with fibres of multiple sizes and nuances, combining warm and cool colours. The 3D Mesh wall tiles has a raised pattern that is rhythmic and regular,
with the view shifting depending on the viewer’s perspective. Cotto d’Este’s Matrix was inspired by the classic texture of the canvas and is gentle and soft to the touch. Single fired, it is suitable for installation on floors and walls. It provided the base, and a compositional element, of the company’s Ritmi tiles. Edilgres’ Lin Side range is pleasantly soft to touch and is made to emulate a fabric that follows the micro undulations of linen, mixed with a cement base. Characterised by soft shades, it provides a sense of lightness for floors and walls that can be easily adapted to different lifestyles. Fine velvet, a trend-leading finish this year, inspired the Sync range from Iris. This design leverages the shade and light contrasts of this fabric to tiles that play with contemporary prints and striking decorative patterns. Textile textures also featured in Trame, a collection from Lea Ceramiche. On a smaller scale, Cersaie saw Ferruccio Laviani’s tartan patterned debut collection for Bisazza. Sintesi’s Digital Tweed also caught the eye. It comes in six colours: Beige, Grey, Ivory, Jeans, Smoke and Walnut plus Rainbow, Patchwork and Jeans decors.
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C E R SA I E 2016
Fioranese’s Imperfetto range is an example of the greige trend (a combination of grey and beige).
Other impressive textile-effect options include Canvas by Sichenia (nine patterns, five colours and four formats); Juutan by Kalebodur from Turkey; Verde 1999’s Aria range of 800 by 800mm woven-textured tiles in six colours, Next by Rako, Tussor by Edimax (which comes in four colours and appears far more textured than it actually is); Rug by Gambini Group (in three cool colours of dark, smoke and ice, and three modular formats); Elite/Ceramiche Piemme’s Fiber, and Trame by Tagina (subtle tonal and textural variation in five formats up to 800 by 1,800mm). And taking the textile look an extra step, Italian mosaic company Sicis has developed a technique in which a textile is sealed between layers of glass. One of the interesting features of these contemporary fabric-effect tiles is that they are being produced in a very masculine and restrained palette. Greys, smoky greens and rich beiges predominate.
This confirms another trend of Cersaie 2016: the preponderance of grey hues. The key colours, it seems, are greige (a combination of grey and beige) and a rich smoky blue; a heavily-saturated hue that sits well alongside lighter greys, beiges and cement tones. Fioranese’s Imperfetto range features a great example.
Marbles Cersaie 2016 also witnessed an emphasis on luxury bathrooms, often showcasing classic white marbleeffect tiles that are both opulent and discriminating. This revival of a modern classic has been refined and updated through the use of more sophisticated production technology, such as the ability to create tasteful faux book-matched marble slabs. And after many years obsessing with the far limits of digital decoration technology, there was a return to tradition through the craftsmanship of hand-made ceramic Grespania’s range of marble tiles come in polished and natural finishes.
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tiles. The pearlescent, small format, wall tiles on Ceramica Alta’s stand were but one excellent example. Another was the Blu Ponti range by Francesco De Maio. Inspired by Gio Ponti’s Parco dei Principi hotel in Sorrento, Italy, this range spans Ponti’s iconic blue-and-white tile designs alongside a chevron pattern that feels decidedly modern. Charming and delicate, with beautiful veins running through the pieces, Grespania’s Altai range of marble tiles, in polished and natural finishes, is available in 600 by 600 and 300 by 600mm formats. Altai comes in a range of discrete hues from white and grey, through ivory and beige. Two geometric reliefs in the 300 by 600mm format – Gobi and Sayannes – offer an alternative to traditional modulation in wall tiles. Imola’s Genus collection also attracted a lot of interest. These tiles are based on marble combinations that are selected and grouped in terms of colour and purity, using the same process adopted by marble quarries.
Wood-effects Texture was everywhere too, breathing life into traditional flooring solutions that replicated stone and, particularly, wood. Here, the texture was often combined with rich shades of coffee and tobacco. When it came to wood-effect tiles, darker woods, paint effects and distressed finishes were prominent, with the overall palette darker and more theatrical. The latest version of timber-inspired ceramic tiles made a strong showing, with elaborate chevron and parquet patterns a genuine highlight at the show. Many of the wood-effect tiles at Cersaie had an added twist. For instance, Loop by 41 Zero 42 is inspired by the growth rings of a tree, with a choice of formats and patterns. Fioranese’s Wood Mood is a porcelain range inspired by the contrasting colours of antique, reclaimed, floors. The wood shades blend randomly to create sophisticated settings with a distinctive personality. The design options are bianco, rovere (oak), quercia (oak) and ciliegio (cherry).
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C E R SA I E 2016
Graven, from Provenza’s Provoak collection, is the colour and grain of natural oak, but with a hammered ‘spider’s web’ finish. Sant’Agostino’s Set Wood rectified porcelain range combines haphazard geometric cut-outs of woodgrain pieces to form a 900 by 900mm square tile. Available in nine designs, the tiles can be arranged in a variety of configurations. Le Tavole by Campani is a glazed porcelain line in a choice of opaque shades typical of noble woods. Each plank tells its own story, combining naturalness with simplicity. The large 200 by 1,200mm plank format brings the best out of the colour options of bianco, grigio, beige, noce and wenge. Gran Paradiso by Del Conca is a playful take on the woodlook porcelain tile, incorporating triangles of various sizes and grains to create a graphic mosaic effect. The finish, called Collodi, is available in a 200 by 800mm size. 5 Essences by Marca Corona is another light-hearted take on the faux-wood trend. This tatami-like
Monocibec’s New Age tiles recall rustic wooden floors.
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Fioranese’s Wood Mood is a porcelain range highlighting the wood-effects style.
wall tile influenced by mats used in traditional Japanese-style rooms, is available in five wood finishes: elm, cedar, walnut, mahogany and iroko. It offers hues like sage and a muted indigo, and on-trend geometric patterns, such as chevrons. Monocibec’s New Age recalls rustic wooden floors, painted and worn by time and footsteps. The natural surface emphasises the artisan look of the product that, organised in four carefully selected colour bands, lends itself to both private and public spaces.
Leonardo unveiled a range with a concrete effect interpreted in a highly customised way. Called Factory, it was inspired by the formwork used when pouring and shuttering in-situ concrete. This full-body porcelain range comes in four colours and four sizes. Century’s Vermont range offers an array of precious wood essences. In keeping with the latest timber-effects styles, the ceramic slats of Vermont have vivid colour and rich veining. The wood of theatre stages helped to create Cotto d’Este’s Backstage
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range. It comes in two surface finishes: Paint in solid colours; and Brush, a rustic, time-worn surface. Bellacasa’s catalogue of ceramic woods now includes Everglades; a multi-format tile with a natural design and subtle relief, in three soft, neutral tones, Fresno, Chestnut and Grey. It is the ideal for creating clean and modern spaces. Bisazza showcased Wood, a collection of decorated parquet designed by Studio Job, Kiki van Eijk and Edward van Vliet. Wood is an eccentric interpretation of the classic parquet, featuring vibrant colours, 3D patterns and geometric shapes. La Faenza’s Legno del Notaio captures the beauty and colours of Italian palazzos where the wood carries the marks made by people and objects over the centuries. This aged look has been refined to reveal the original texture of the waxed teak, with particular focus on darker colours. One novelty is a mixed size package that includes 300 by 1,800, 200 by 1,800 and 100 by 1,800mm plank formats ready for laying. The Driftwood floor tile range from Agrob Buchtal also captures the look and feel of weathered wood, with a great diversity of patterns and structures. The design focuses on the natural vintage character, with alternating veined and smooth sections, emphasised by a relief surface. Driftwood is available in a brown-grey mix.
Agrob Buchtal’s Driftwood floor tiles replicates the look of weathered wood.
Bisazza also showcased mosaic patterns with vibrant colours and textures by Ferruccio Laviani, Kiki van Eijk and Alessandro Mendini.
Concrete and Cementine Heritage-influenced concrete tiles and time worn patina effects were prominent at Cersaie, with concrete and wood/concrete composites, like Crea and Concrea by Ariana at the forefront of this trend. Crea offers hints of post-industrial plaster and concrete with pastel tones to create soft, seductive surfaces in which pearlescent materials alternate pleasingly with satin backgrounds and
Cotto d’Este’s Backstage range in Brush colour.
unexpected 3D effects. Concrea is an elegant interpretation of industrial surfaces combining resins and cements with a timeworn look. Casalgrande Padana’s Resina impressed with its matt and nonhomogeneous look; a strong trend in contemporary interior design. It was displayed alongside Beton, a new cement-effect range offering a hardedged urban style. Concrete and cement looks, elegant stripes and a delicately shimmering gloss are all characteristics of Agrob Buchtal’s Lunar porcelain stoneware series of tiles. It was developed by experimenting with various materials such as concrete, plaster, pigments and resin. For example, structures were formed in the moist mass with a spatula, material was applied in some areas and partially removed again by grinding, or discreet overlapping used to form a multi-layer structure. The expressive decor created in this way was then reproduced using modern digital printing. Bellacasa’s Stage range took inspiration from the cement slabs found in ports, that have been exposed to the weather and saltwater spray. Stage offers a neutral colour palette of cement, anthracite, black, sand and charcoal grey. The decorative pieces that complement the range – Aldwich and Globe – are based on an modern interpretation of hydraulic floor tiles. www.tiletodaymagazine.com.au | TILE TODAY #91 | 27
C E R SA I E 2016
Powder, the latest concretelook range by Marazzi, reinterprets the original material in a versatile collection with a contemporary feel. It is available in five shades: Sand, Crete, Mud, Smoke and Graphite. The surface is soft to the touch and features irregular patterning and subtle shade variations. The minimalist appearance of concrete also influenced Marazzi’s porcelain Plaster range. The subtly scratched surface makes Plaster a product that can be successfully paired with a multitude of different materials. It is offered in five neutral, powdery shades (Butter, Sand, Taupe, Grey and Anthracite) in four sizes. Campani’s Concreta brings together four powdery shades and a mix of decorations with 12 different themes, marked by the almost faded traces of vintage ornaments and patterns. The resulting tiles are soft and atmospheric. Cotto d’Este’s Freestyle is a surface created using a special resin, applied with a spatula by craftsmen and decorated digitally with cold enamel. This is a true work of art, with each piece unique. Fioranese’s Retro Cementine was inspired by hexagonal or square concrete floor tiles whose dominant colours are grey and brick.This was very popular at Cersaie where Cementine and Heritage decorated cement floor effects were abundant. Widely used in the early 20th century for the flooring in service areas and work spaces, the compositions are based on a simple alternation of colours. These tiles were also used to create much more complex decorations, with flowers and other patterns interpreting the fashionable Liberty and Deco styles. This revival has become a trend once more, reinterpreted with new colour solutions in this 200 by 200mm range. Grespania’s Avalon uses urbanthemed colours enhanced by a patina typical of time-worn, cement surfaces. This, along with the wide range of formats, offers a metropolitan chic approach to decor. The range is completed by the Morgana decor, featuring schematically simple graphics that sit between the industrial and artistic. 28 | TILE TODAY #91 | www.tiletodaymagazine.com.au
The Concrea by Ariana provides unexpected 3D effects.
Cotto and Terracotta Digital decoration has breathed life into cotto and terracotta tiles, an enduring favourite. With Terre, Century applies stateof-the-art ceramic technology to interpret the aesthetics of classic terracotta and create a collection in tune with contemporary design. In re-working an iconic material of traditional Italian architecture, Terre endows terracotta with a fresh identity. The collection has five colours, all of them new to the traditional terracotta palette. In Cottos, earthenware tiles, cement and moulded pieces come together to create Grespania’s Gea range, an adaptable collection that can create cosmopolitan urban environments as well as rustic, native-like spaces. Gea’s soft spatulaeffect produces an adaptable gloss or matt effect. La Faenza’s CottoFaenza is a restyled version of natural terracotta with a refined range colours: Tuscan leather, Mexican and Spanish terracotta, and ancient craftwork black. These tones are tempered by the scorched effects and lustre of fired brick. These effects, and the subtle play of light that enhances them, have
been meticulously captured by La Faenza, along with special surfaces – anti-slip and certified – that are said to constitute a genuine revolution in terms of graphics, design and texture.
Le Corbusier and the marketing of Modernist tiles Another company that is influenced by the past is Gigacer. It has gone back to the work of Swiss-French architect, designer, painter, urban planner and writer, Le Corbusier (whose real name was CharlesÉdouard Jeanneret) by recreating tiles in a dozen of the 63 colours he deemed suitable for architecture. At Cersaie, Gigacer even recreated the brise-soleil of Le Corbusier’s Maison de la Culture in Firminy, France with these tiles. Gigacer worked with the heritage foundation for the Swiss-French renaissance man, which granted the rights to create tiles in 12 colours from Le Corbusier’s Polychromie architecturale. Another architectural giant was referenced on the Fiandre stand. “Less is more” – the famous quote by L. Mies van der Rohe – was the slogan for the stand designed by Archilinea. For this pioneer of Modernism, the belief
was in simplified, essential universal architecture. On Fiandre’s stand this came through as a rejection of design complexities, allowing its ceramic surfaces, such as Maximum Fiandre Extralite ceramic slabs, to shine. A harder edge was also on display on the ABK stand, where the company unveiled a large format, 1,200 by 600mm version of a corten steel wall and floor tile from its Interno 9 collection. It was installed seamlessly to appear as one uninterrupted panel.
Atlas Concorde’s Brick Atelier is a collection of 80 by 315mm rectified wall tiles
Asphalt: a trend to watch? Possibly highlighting another design direction for tiles, Agrob Buchtal’s Streetlife range was inspired by a material that is very interesting in terms of design: asphalt. Its typical features, such as granular structures, slight irregularities and crack textures, have inspired for a timeless and distinctive floor covering. Streetlife reflects the urban environment not only in its surface look but also in its colour range of cement, basalt, asphalt and rust. The rust option deserves special mention because, by the application of a gloss granulate, it conveys the impression of a metal surface.
Best of the rest Sant’Agostino’s Set collection can be viewed as the synthesis of Cersaie 2016’s strongest design trends. The creative and material inspirations underlying this collection range from the manual processing of concrete structures for Concrete, to the weft of entwined stripes of a cotton carpet set in concrete for Dress, to Palladian marble for Gem which recalls Carlo Scarpa’s floor of the historic Olivetti shop in Venice, to the patchwork Danish timber of Wood, the painted or chipped walls Fioranese’s Retro Cementine was inspired by hexagonal or square concrete floor tiles.
of Wall through to the inserts of precious 1950s metal, in Jewel. Set is a rectified porcelain collection available in square and rectangular sizes, starting with the new large 1,200 by 1,200mm tile for Concrete and Dress. The tones include four shades of grey for the cements, the light shade of natural wood, white, the variations of stone on the walls, copper and brass for the metal stripes. Dress is more sophisticated, Concrete more industrial. Of the many stone-effects on display, the current vogue seems to be for ultra-white marbles, like Calacatta and Carrara, and darker, riven, stones. Of these, basalt was prominent in ranges such as X Rock by Imola (in four modular formats), Marvel Stone Basaltina from Atlas Concorde’s 3D Wall Design collection, and Unicom Starker’s Basaltina. Atlas Concorde’s Brick Atelier is a collection of 80 by 315mm rectified wall tiles with the unmistakable imprint of Italian design. The format lends itself to creating elegant patterns enriched by the rectified edges: including offset, grid, and herringbone patterns. Brick Atelier is also available in a selection of fine marble and onyx to complement the Marvel and Marvel Pro ranges. Casalgrande Padana’s new Pietre di Paragone porcelain range draws inspiration from many natural stones. From Onsernone, the Swiss granite, to the Grè stone of Lake Iseo, the collection includes the sophisticated and velvety Vals stone; and Solnhofen stone from Germany enriched by numerous fossils. These versions are joined by Limestone Nero, Grigio
and Beige, Black Pearl, Grigio Aitos, Grigio Tao, Pietra del Cardoso, Pietra di Vicenza, Pietra Otta and Pietra Piasentina: all very impressive. Other impressive ranges include Refin’s Arte Pura by Daniela Dallavalle, and Tagina’s Ruamancina (yes that woven/leather/textured look again); Piemme’s award-winning Bits & Pieces collection; Inalco’s Fluorite terrazzo-effect tiles; La Fabrica’s selfexplanatory Resine range in four colours; and Caesar’s Layers concept. In addition, there were some striking slate looks and plenty of rectilinear wall tiles and 3D decors; while large format 20mm pavers for external installations look set to stay. Typical is Caesar’s Aextra 20 collection of 20mm thick slabs in 31 colours, characterised by many different material inspirations. Brick format and mosaic tiles also looked back to the past, but were less prominent than in 2015; while metallic finishes, including corten, copper, iron, silver and bronze were shown with subtle sheen or with rust effects, offering a grungy, urban aesthetic. All in all, Cersaie 2016 proved that today’s ceramic tile manufacturers continue to surprise and enchant with ranges that offer aesthetic appeal and impressive technical performance.
Cesaire 2017 Cersaie renewed its agreement with event organiser BolognaFiere for the next four years, from 2017 to 2020, with an option to extend for another two years In 2017, Cersaie will be held from 25-29 September. ■ www.tiletodaymagazine.com.au | TILE TODAY #91 | 29
P ROJ E C T SP OTLIGH T
A tiled sushi bar in Melbourne Joe Simpson writes that a true design classic is given a clever, contemporary interpretation.
I
f one phrase sums up Melbourne’s new Japanese food destination, Tetsujin, it is ‘juxtaposition of opposites’. Here, serenity co-exists with chaos, hygge (the Danish concept of living well and living simply) hits back at hustle, and relaxed wrestles with raucous. Located on the 4th floor of the Emporium shopping mall in Melbourne’s CBD, this sleek space, designed by Architects EAT, captures everything a visitor could find in Tokyo in 24 hours. This includes a sushi train serving market fresh fish, and a Japanese BBQ section where premium cuts of meat and select seafood are carefully prepared by dynamic BBQ attendants. Tetsujin also offers an array of izakaya-style dishes and an extensive drinks menu. Architects EAT has created a suitably theatrical setting for this mouth-watering menu in a converted shopping centre tenancy. The end result is a venue for destination dining that offers an experience that
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captures the contrast between the cacophonous noise and neon excess of the city, with the calm restraint and simplicity revered in traditional Japanese culture. Tetsujin offers two distinctly different dining experiences. Linked by a shared central kitchen, the minimalism of the sushi train is in a stark contrast to the hectic activity of the barbecue grill. The sushi train is a predominantly white space featuring floor-to-ceiling windows. A striking timber structure, which recalls the work of Yoyo Ito, Fumiko Misawa and Masahiro Inayama, frames the striking views of Melbourne. It is unsurprising, given the influence of the Tokyo subway on the design, that white subway tiles are the dominant material. The visual conceit is continued by a row of LED lights that look like train hand rails. The overall effect is one of cool stillness: a place to relax and unwind after a hard day in the office.
The barbecue grill is something else entirely. Here the design encourages customers to partake in gastronomic theatre and relish the images, sounds and smells being created. Delicacies ripe for barbecuing are shown off in a prominent display case below a red neon sign proclaiming “Welcome!” in Japanese characters. A large Tetsujin figurine – Tetsujin is Iron Man No. 28, a robot character in a 1956 manga written and illustrated by Mitsuteru Yokoyama – hangs down from the ceiling. The Japanese theme continues with a striking mural by Principle Design. Also featuring a prominent bar, light projections and a rich colour palette, this part of Tetsujin is brashly unapologetic. It features communal tables and large booths to cater for larger groups and has the look and feel of a night-time destination. Eid Goh from Architects EAT explains, “Our design intent was to create a space characterised by opposite extremes. We explored with the
endless exciting possibilities that we could offer to bring together the norm of ordered chaos portrayed in most Japanese cities. “Situated on Level 4 of Emporium, and originally designated as a store room, the narrow seven-metre wide linear site offers a full view of the cityscape of Melbourne. With its generous floor to ceiling windows, this brings in an ample amount of natural daylight on both ends of the east-facing facade.” “The site limitations were a hurdle from the offset,” continues Eid. “Given the limitations of services we decided to elevate the majority of the floor space and create ramps and steps by both entrances. We had to consider circulation throughout the narrow strip and challenge ourselves with integrating multiple mechanical arteries entering and exiting the space.
“Given the linear nature of the site, we wanted to maintain as much openness to the restaurant, and a smooth transition from one end to another, although the sushi train and BBQ dining spaces are separated and visually distinct. Using materiality and colours we were able to achieve such linkages. “The sushi train dining space is visually minimal and bright. The use of European Oak timber flooring, paired with clean white tiles and stone bench tops, complements the sushi displays on the conveyor belt. Walls painted in white and pale pink achieve a restrained canvas around the seating spaces. This clean backdrop is layered with our feature white washed timber grid modules and custom LED ring lighting over the sushi train. The combination www.tiletodaymagazine.com.au | TILE TODAY #91 | 31
P ROJ E C T SP OTLIGH T
“The concept for the visual identity of Tetsujin is influenced by the culture of iconic Japanese machinery: deconstructing, investigating and reinterpreting this technology within the themes of order and chaos,” explains Goh. “Whilst order and chaos is distinct in the design concept of Tetsujin, our task as the design team is to ensure they communicate effectively and maintain a sense of balance. of the white tiles and ring lights references the Tokyo subway. “The bar and main BBQ dining are the complete opposite of the order and system achieved in the sushi dining. The overhead services and ducts are deliberately showcased with an exposed ceiling spray-painted black. “Track lightings of different mounting heights and angles are suspended off the ceiling. The BBQ dining is purposely kept as a dimmed space specifically for night dining. This dark and mysterious quality is enhanced with lightweight concrete panelling, while floor to ceiling graphic wallpaper creates a strong visual narrative and an atmosphere of chaos, heat and energy.”
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AT A GLANCE Project: Tetsujin Practice: Architects EAT Website: www.eatas.com.au Project team: Eid Goh, Lachlan Cooper, Janice The Cost: AUD1.5 million
MAJOR SUPPLIERS Wall Panelling: Concreate Tiles: TR Ghiaccio/66 gloss White tiles, 5mm black grout from Classic Ceramics Flooring A: European Oak in Voss UV Matt Lacquer from Woodcut Flooring B: Plain R9 Blaze tile from Metz Flooring: Serizzo Black floor tile from Academy Tiles Bathroom tiles: Gothic Snowdrift from Classic Ceramics Sushi train stone bench and tables: Super White stone from Apex;
“The varied spaces and seating layouts offer different experiences. This a destination dining that you can come time and time again and never be lack short of the order and the chaos.” Tetsujin is eloquent testimony that EAT Architects’ stays true to the practice’s core ethos: “Our design process is driven by a consistent philosophical approach – not a predetermined style – by which we create buildings that are intimately connected to their function and individual context. We pride ourselves in creating uniquely detailed projects, and avoid producing similar designs over time.” Tetsujin has more than delivered on these principles, providing a delightful double-vision of the possibilities of destination dining when talented designers intelligently interpret a very challenging design brief. ■ Photography by Derek Swalwell Photography
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T RENDS
Concrete tiles show their softer side
and give life to what Sant’Agostino bills as “small ceramic masterpieces…” Set is a rectified porcelain collection available in square and rectangular sizes, starting with the new 1,200 by 1,200mm large format tile. The tones include four shades of grey for the cements, the light shade of natural wood, white, the variations of stone on the walls, copper and brass for the metal stripes. Sant’Agostino has also introduced a 20mm thick version, Concrete 2.0 with a textured surface, in 600 by 900mm, specifically for outdoor flooring applications. It comes in four colours: White, Pearl, Grey and Dark (anthracite grey). The available
International correspondent Joe Simpson explores what different brands are offering
K
nown for its minimalist, masculine and urban aesthetic, concrete-effect tiles have been a prominent feature at Cersaie, Cevisama and international exhibitions aimed at architects and interior designers. Today, however, concrete-effect floor tiles are not afraid to show their softer side. The results include übercool distressed-faced tiles; chalkylook stucco effects; various care-worn decors; fresh neutral greys of different intensity; polished and semi-polished surface treatments; and narrow plank formats with visible shuttering. At Cersaie this year, there were still plenty of new concrete-effect ranges on display. These included plaster and stucco derivatives, many with the marks of the ‘spatula’ plain to see. Shuttered concrete, which cleverly fuses the concrete look with the enduring popularity of wood-effect tiles, was again highly visible. Perhaps the common theme was the increasing focus on the subtleties of texture and surface relief; something that has characterised many of the best new tiles ranges launched over the past few years. Grey has overtaken beige as the go-to colour palette for tiles (and, indeed, interior design overall). This plays well for the cement-effect look,
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which generally moves from an offwhite hint of grey right through to more intense and dramatic anthracite hues. These deeply-saturated colours are often used alongside lighter tones to provide contrast and a real feeling of depth. Since grey remains the faithful friend of contemporary designers, the latest ceramic wall and floor tile collections highlight designs that range from icy tones of light grey, darker slate and quartz colour, right through to softer greys and beiges. They include many iterations of the now widely used fusion colour: greige. But, with texture and overlaid tones adding an ever-more natural effect to these tiles, it is clear that colour is not the overriding factor when it comes to making a declaration of design intent. A number of companies have their own interpretation of concrete-effect tiles.
Set by Sant’Agostino This range explores the synthesis between derivations, intersections and compositions of materials: cement in Concrete; cement-fabric in Dress; and Tartan; cement with marble in Gem, natural timber in Wood, metal in Jewel; and stone in Wall. They interact one to the other
Concrete 2.0 from Sant’Agostino is a new 20mm thick version of its Set tile.
modular formats are 1,200 by 1,200, 600 by 600, 300 by 600, 900 by 900, 600 by 900 and 150 by 900mm.
Sphata by Recer Sphata was displayed by Recer at Cersaie 2016. It formed a display that concentrated on designs that are functional, easy to apply and simple to combine.
Sphata by Recer is inspired by the concept of ‘handmade’ spatulated stucco.
five different colours – white, beige, cappuccino, grey and black – and a bush-hammered surface in a 600 by 600mm format in beige, white and grey.
Trame by Lea Ceramiche
This multi-format range is inspired by the concept of ‘handmade’ spatulated stucco. The formats span porcelain floor tiles in 450 by 900, 600 by 600 and 300 by 600mm, both natural and rectified; alongside 300 by 900, 300 by 600 and 250 by 400mm wall tiles, in White, Beige, Grey, Dark Grey and Nut.
Crea and Concrea by Ariana The ceramic panels from Ariana’s Crea range have a strongly modern appeal and are light, thin (7mm) and perfectly flat, making them easy to handle, cut and install. With the Wide range, Cersaie 2016 also marked Ariana’s entry into the world of large-size ceramic panels (up to 1,200 by 2,400mm). Two new material inspirations that enhance the potential of the large panels were also unveiled: Concrea and Horizon. Concrea Wide is an elegant interpretation of industrial surfaces combining resins and cements with a timeworn look. Horizon offers a more metropolitan revisitation of travertine based on a contemporary and sophisticated colour palette.
Trame is a composite project that brings together colours, materials, and shapes. The three basic tactile effects reinterpret three different textures, both visually and through the sense of touch. Plaster, Matter and Canvas are available in a neutral and harmonious colour palette. Plaster recreates a soft and spatula textured surface; Matter, rougher and opaque, represents grainy rough concrete; while Canvas offers a linen texture with a delicate graphic relief that enhances its three-dimensionality. They come in six different colours, offering 18 surfaces.
Powder & Plaster by Marazzi Powder is a new concrete-look stoneware with an urban vibe and a contemporary look. It is available in five shades: Sand, Crete, Mud, Smoke and Graphite, and designed to recreate and emphasize the natural imperfection of earthenware and concrete. In addition to the 750 by 1,500 and 750 by 750mm sizes, there are hexagon tiles in size 210 by 182mm, available in all five colours. A herringbone mosaic tile further enriches the range. The mosaic tile, meanwhile, comes in 300 by 300mm and is available in all five colours. The subtly scratched surface makes Plaster an on-trend, versatile. The outdoor version, available in the 600 by 600mm size, can be used to create visual continuity with the interior.
Powder is designed to recreate and emphasise the natural imperfection of earthenware and concrete.
Origini by Imola Origini is a full-bodied, coloured cement-effect porcelain stoneware tile obtained using acidification. This treatment chemically combines coloured acids dissolved in water with cement so they seep right into it and give the finished stoneware a unique colour and pleasant, worn effect. The Origini collection has natural, matt and textured surfaces in four formats: 900 by 900, 450 by 900, 600 by 600 and 300 by 600mm. There are www.tiletodaymagazine.com.au | TILE TODAY #91 | 37
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The palette includes natural and neutral colours, co-ordinated for floors and walls, and two synthetic nuances, for flashes of colour on walls.
Cementina by RAK
ABOVE: Bellacasa’s Stage range took inspiration from the cement slabs found in ports. BELOW: RAK’s Cementina range is suitable for use on walls and floors, both indoors and outside.
RAK’s popular Cementina range combines a tactile look with a wealth of practical benefits. Available in grey and beige, this porcelain design has a contemporary ‘dusty’ look – akin to concrete – but offers the high performance of modern porcelain. It is suitable for use on walls and floors, both indoors and outside. Cementina tiles measure 600 by 600mm and have a matt finish. The distinct “city” look is achieved using the latest in digital printing technology. Precise colour variation and image pixels produce the cementlike graphic to give an authentic finish. RAK’s porcelain is resistant to water, staining, abrasion and impact, and is also fire-proof.
Concreate Light by Concreate Concreate is inspired by the groundbreaking, environmentallyfriendly concrete surfaces used in the Beijing Olympic Village. It is manufactured with the same magnesium oxide cement to produce a lightweight decorative engineered concrete panel. Concreate is an environmentally-friendly concrete surface used in the Beijing Olympic Village.
Stage by Bellacasa Stage combines the warm look of cement and the comfort of ceramic. This collection is defined by its balance, both in terms of its design and its uses. The Stage series is a collection of porcelain tiles in 600 by 600, 450 by 450 and 300 by 600mm formats, with a neutral colour palette (cement, anthracite, black, sand and charcoal grey). The decorative pieces that complement the range are an updated take on hydraulic floor tiles. Two such pieces are available in 600 by 600mm: 38 | TILE TODAY #91 | www.tiletodaymagazine.com.au
Aldwich, a set of subtle architectural geometric shapes, and Globe, which revisits some eye-catching designs from the past. There are also two wall-tile formats available: 300 by 900 and 250 by 400mm.
Dwell by Atlas Concorde In this collection, porcelain floor tiles and white-body wall tiles deliver sought-after surfaces inspired by brushed concrete and synthetic resins. They are Ideal for contemporarystyled spaces that are avant-garde and original.
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Sustainable and cost-effective, Concreate is an alternative to conventional poured and polished concrete surfaces. The readymade floor and wall panels can be installed quickly. The flooring range is ideal for a kitchen environment due to its non-slip surface and is easy to keep clean. A new addition to the portfolio is Concreate Light. This lighting system comprises concrete wall panels with an integrated magnetic lighting system that allows light fittings to be placed anywhere along the track. These light elements can be placed and removed as required.
Materika and XL Street by Marazzi Materika is a range of satin-finish concrete-look wall tiles. A 400 by 1,200mm format guarantees greater visual continuity in wall design, while the colour range reflects the natural shades of concrete. Equally suitable for bathrooms, kitchens and living rooms, the colour options include Anthracite, Beige, Fango (mud), Grigio and Off White. XL Street is a concrete-look porcelain floor tile range that comes in an extra-large 1,200 by 1,200mm format, designed to meet the demand for large, uniform surfaces.
ABOVE: The Dust range from Marazzi consists of porcelain concrete-look tiles in two sizes and four colours. BELOW: Petitot is a through-bodied porcelain range.
Sistem P and Dust by Marazzi Tecnica Sistem P is a concrete-look material with all the benefits of porcelain stoneware, such as resistance to wear, staining and thermal shock. It is available in six colours, three sizes (600 by 1,200, 600 by 600 and 300 by 600mm rectified) and two surfaces: natural and gloss. Ideal for use as a floor and wall covering for both residential and commercial locations. The colour options are Bianco, Grigio Chiaro, Grigio Medio, Grigio Scuro, Perla and Tortora. The Dust range consists of porcelain concrete-look tiles in two sizes – 300 by 600 and 600 by 600mm – and four colours, white, cream, pearl, smoke. This range is suitable for floors throughout the home. 40 | TILE TODAY #91 | www.tiletodaymagazine.com.au
Petitot by Novoceram Petitot can evoke plaster, cement or metal, depending on which part of the design is viewed. It is a throughbodied porcelain range, and comes in 200 by 1,200, 300 by 600, 450 by 450, 600 by 1,200 and 600 by 600mm formats.
Urban Concrete by Flaviker A product with outstanding technical qualities and strong visual appeal, Urban Concrete comes in various modular sizes and three surface finishes: Natural, R11 Textured for outdoor use, and Frame formwork effect.
The Frame surface reproduces the wood textures imprinted on concrete by formwork. The Natural surface embraces delicate colours and deep ton-sur-ton shades. Urban Concrete comes in six colours ideal for use on floors or walls in contemporary urban living spaces: White, Greige, Smoke, Fog, Nut and Night. Metropolitan graffiti and floral designs complete a range that caters for different design visions and offers plenty of scope for experimentation. Available modular formats are 800 by 800, 400 by 800, 600 by 600, 300 by 600 and 150 by 600mm, plus 300 by 600mm decors and mosaic effects.
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Flooring>Carpet>Tile>Stone>Veneers>Vinyl>Laminate>Paint>Glass>Timber>Concrete
T RENDS
LEFT: Beton are polished concrete-effect floor tiles that are frostresistant and slip-proof. RIGHT: The Tapial range combines both woodand cement-effects. BELOW: Fiandre’s New Ground range.
Beton by Rondine Beton is a polished porcelain stoneware range that can be used for the floors of kitchens, living rooms and bathrooms. These polished concrete-effect floor tiles are frost-resistant and slip-proof. This technical performance makes the collection suitable for paving outdoor areas. The grip version is ideal for exteriors that require optimal performance and slip-resistance.
Metropolis by Rondine Metropolis is a polished concreteeffect floor tile range, that provides an understated, minimalist look. The distinctive feature of the surface is the use effect typical of worn cement, created by a slightly shimmering metallic reflection. The range comes in four colouredbody versions – three shades of grey and one of ivory – and in two sizes (605 by 605 and 305 by 605mm); along with rectified 600 by 600 and 300 by 600mm versions.
New Ground by Fiandre This line has been created for cosmopolitan customers who see the floor as an integral part of an interior decor scheme. New Ground 42 | TILE TODAY #91 | www.tiletodaymagazine.com.au
comes in 600 by 1,200mm, 600 by 600mm, 600 by 300mm and 300 by 300mm modular formats.
Brescia by Verde Ceramica Brescia offers a classical natural finish where no two tiles are the same. The range includes natural and structured finishes, as well as embossed large in-prints styles. Hexagonal shapes have been introduced in both natural and gloss to offer additional design options. The available formats are 50 by 600, 100 by 300, 100 by 600, 150 by 600, 300 by 300, 300 by 600, 450 by 450 and 600 by 600mm.
HD Concrete by British Ceramic Tile HD Concrete is an urban effect wall and floor tiles with matching feature floor in shades of grey. The 331 by 331mm tiles have a matt finish in a serene light grey colour. They are perfect for use on floors throughout the home for a contemporary style and sophisticated concrete-effect finish.
The Dream from Roca is represents contemporary styling.
Tapial by Tau
Dream by Roca
Tau’s Tapial cement-effect floor tiles come in six colours – grey, pearl, white, sand, beige and brown – in a 225 by 900mm format. The Tapial range combines both wood- and cement-effects. The lack of repetition in its graphic design makes this collection look completely natural. This range is available in two finishes: indoors and outdoors.
The Dream collection highlights and adapts to different environments. Its wide colour palette varies from a snow-white shade to arabesque gold and platinum colours. Available in a 250 by 700mm format and five colours, it includes special pieces such as skirting and borders for more classical fitting. ■
T RENDS
1. Nieve slim bench tops (left) are manufactured by Neolith and distributed by CDK Stone 2. Slim panels of Dekton by Cosentino (right) have been applied to a variety of surfaces in the Brasshouse apartments in Hawthorn East (VIC).
The future looks big The popularity of jumbo-sized ceramic tiles and large, slim panels of porcelain was confirmed at Cersaie 2016.
L
eading Italian tilemakers appear to have glimpsed the future when they produced the first slim panels of porcelain and gradually increased tile formats from what were originally considered large at 500 x 500mm to 1000 x 1000mm. However, it is one thing to produce novel new products, quite another to find a market for them. It has become apparent that large format tiles and panels were introduced to correspond with developing trends in architecture and design, while satisfying a desire for lightweight products which consumed less energy and raw materials in the production process. Over the years, Tile Today has held talks with architects, designers and consumers who are not fond of grout. Many specifiers and home owners favour a seamless look that flows effortlessly over large vertical and horizontal surfaces. Large rectified porcelain tiles are often installed with 1.5mm to 2mm grout joints. Big formats result in less grout. Clever use of an appropriate colour grout can suggest an expansive, seamless surface.
44 | TILE TODAY #91 | www.tiletodaymagazine.com.au
Inevitably, many bigger tiles and panels have to be produced in slim thicknesses which enable warehouse and delivery staff to handle the product effectively. Competent tile fixers and stonemasons benefit because the weight of the products is reduced. This should allow tiles and panels to be adhered to all manner of well prepared, flat substrates. Writing in Ceramic World Review recently, Pamela Albanese observed: “This makes for a consistent and flexible overall project that extends over various spaces and offers plenty of scope for coordination.” This creates the so-called “box effect” trend which according to Albanese, “minimises the perception of interruptions and creates the illusion of a continuous surface that integrates seamlessly with the architecture.” The desire for seamless surface finishes is reflected in the popularity of materials such as concrete and “flowable” coatings and resins, which can be increasingly seen in public spaces and buildings. While many of these coatings are minimalist in appearance, there is a growing tendency to use brighter, less
formal colours. Grey is still highly favoured, but large tiles and panels permit specifiers to introduce bold colour, precisely where it is required to have an impact. Digital ink-jet printing technologies enable tile manufacturers to effectively render the appearance of any other surface finish on the surface of tile or panel – and the bigger, the better.
Every surface can be covered If required, manufacturers of large slim panels can pre-cut big panels into smaller sizes, prior to dispatching the order. Consequently, every slab or panel required to clad the façade of a building or the gangways of a cruise ship, or a car showroom can be pre-fabricated and numbered for installation. Alternatively, cuts can be made on-site. The first slim panels were produced in a 3mm thickness. Today, there are large 6mm, 7mm, 12mm, 15mm and 20mm panels which can be used on every imaginable surface. Homeowners can use 12mm (and above) thickness panels on their bench tops, with 3mm or 6mm on the
backsplash, and 6mm or 7mm panels or slim, regular size tiles on the floor. The 3mm material can be used to cover doors, furniture, fittings, and even ventilated facades. On average, 3mm porcelain weighs 7 kilos per square metre, approximately 25 per
cent of the weight of a square metre of regular porcelain tiles. Photo 1 illustrates the advances which have been made in regard to processing slim bench top materials. The featured Nieve slabs are produced by Neolith.
Slim tiles and panels can now be fixed internally and externally to practically any vertical or horizontal surface. Proper preparation is the key. Furthermore, slim products can successfully be installed over flat and sound existing substrates. Photo 2 illustrates how leading architecture and interiors firm Rothelowman used Cosentino’s slim Dekton in the Brasshouse project in Hawthorn East, a suburb in Melbourne (VIC). Rothelowman’s senior designer Joshua Amsellem said, “Throughout the entire building there is a sense of seamless connection and a lustre which will create an address of distinction.” Slim Dekton is utilised on a bench top, a desk top and the top of a television table. In theory, every surface in the apartment could have been finished with Dekton, as the product is manufactured in a multiplicity of colours, formats and thickness. ■
We moved from a standard computer software package to ClearTile and what a difference! ClearTile’s reporting system is one of the best I’ve ever seen. Paul Cannizzaro, Director, Designer’s Ultimate Tiles, Victoria
P ROJ E C T SP OTLIGH T
A temple to healthy food, made of tiles DTile has boldly gone to where no tile has gone before with its SHOT project in the UK. Joe Simpson reports.
D
utch company DTile says its tiling system consists of rounded tiles (or “construction-tiles” as it prefers to call them) and functiontiles. It allows any space, object or surface to be fully tiled. The system covers the surfaces in a blanket of tiles, with a single, unbroken grid of tilework. Peter van der Jagt, Erik Jan Kwakkel and Arnout Visser are the three Dutch designers behind DTile. Their portfolio of sculptural and versatile tiles has many unusual features, allowing them to create interiors featuring a uniform, uninterrupted tiling system. The tiles come with integrated fixtures such as cookbook stands, sockets, ceramic hooks, plug holes or drawers. DTile’s products merge designs together in a clean and creative way.
46 | TILE TODAY #91 | www.tiletodaymagazine.com.au
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P ROJ E C T SP OTLIGH T
“If it was up to D-Tile;” explains the trio, “the world would be tiled. The problem is that tiles are flat, but the world is not. And, for practical reasons, it is often necessary to mount products onto tiles. That’s why DTile designs tiles that bring the dream of a fully tiled world one step closer. “We have created a series of functional tiles, integrating functionality in the tile itself. This enables us to create grids that aren’t disturbed by a sink or a sink stopper, a tap, a cutting board, a wall socket or a drawer. DTile can incorporate any function in a tile and we are open to suggestions to make our range of functional tiles even more versatile... anything that is required to tile the world.” Fortunately for DTile, Alex Wilson, director of London-based design consultancy, Wilson Holloway, is on the same page. When he came across the DTile concept on a design website, Wilson instantly saw the potential for a project he was working on that involved creating a healthy food destination called SHOT, located in Bride Lane, London.
48 | TILE TODAY #91 | www.tiletodaymagazine.com.au
For the cutting-edge interior of SHOT, Wilson Holloway integrated the serving counter, menu screens, customer fridge and kitchen door into one complex and continuous expanse of tiles. The tiles were also used to form the counter tops, a central table, bar stools, external projecting signs, and even the pendant lampshades. The interior aims to project and reinforce the credentials of this new cold pressed juice bar and healthy food restaurant. With an Oxford biologist and a London nutritionist behind the menu, SHOT’s creators – former music director and DJ Asad Naqvi and ex-banker Rahil Malik – are determined that the concept’s healthy credentials stand up. They explain, “Although our principal objective is to offer delicious, healthy food to Londoners, we are much more than just a clean eatery. SHOT aims to educate people about nutrition and provide simple and useful health advice that will help customers stay balanced and healthy.” It’s a bold claim, but one glimpse of the striking SHOT interior is designed to convince even the most sceptical passer-by that this is a unique food experience. The overall tiling scheme is based on 147 by 147mm square Snow white tiles with a 3mm grout joint created using Mapei’s Manhattan 200 grout colour. The white tiles
are complemented by tiles in four bespoke colours developed by DTile. As the SHOT interior shows, DTile is ideal for areas where hygiene is important, as the tiles are easy to clean and maintain. In combination with special grouting, they can be used to create a waterproof, impermeable surface. The tiles are thick and do not break easily. DTile floor tiles also meet stringent anti slip standards. The company points out that any unintentional falls will have much less dramatic consequences thanks to the rounded corners. The tiles were installed on a foam tile backing board substrate that could be easily shaped and chamfered for the corners. Installation was carried out by D-Tile’s partner company and approved installer D-Tile Construction. “We love tiles and tile work,” says van der Jagt. “But tile work is, strangely enough, not defined by tiles, but by the joints. And we love this grid, so much so that we do not want to interrupt it...for any reason. “Tiles are two dimensional, but the world is not. We have devised a system that enables users to tile three dimensionally. One simply designs a space, object or function in a 150 by 150 by 150mm grid, and the D Tile system allows one to cover it with a blanket of tiles.
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P ROJ E C T SP OTLIGH T
“The system enables the user and designer – whether an architect, stylist, contractor, investor, distributor or end user – to design and build a unique, made-to-measure special tile environment. We aim to the tile the world, and believe our system fits the requirements to do so. Not just kitchens or bathrooms, but also espresso machines, car washes, stoves, market places and other areas we haven’t thought of...yet.
Making their own In 2001, when Visser, Kwakkel and van der Jagt first created their concept of 3D functional tiles, they travelled the world to try to find a factory able to produce them. The search proved fruitless, but they didn’t abandon their dream. So, in 2010, they decided to buy a machine and after one year of experimenting, improving and perfecting, they succeeded in their quest. So, in 2011, they founded DTile…and have not looked back since. In the past five years, the company has received a lot of attention from the design press, garnered a collection of awards and even become part of the collection of several museums. D-Tile has been cited by International Designers Yearbook, The New York Times, Wallpaper, Droog Design,
De Architect, Elle, Form, Hauser, Domus, Numero, Ottagono, Detail in Architectuur, Project+ and Frame; among others. Today, the DTile collection consists of flat-, construction-, and function-tiles; all manufactured using frost-resistant stoneware so that the tiles can be used in any location and under most circumstances. And, where white tiles are inappropriate or undesirable, colour tiles can be produced. Function tiles integrate a function in a tile so that the tile pattern will not be disturbed by a drain plug, shelf or knife magnet. D-Tile’s philosophy is that no function is too crazy to be caught in a tile. The colour palette of DTile is simple, timeless and very Dutch. 50 | TILE TODAY #91 | www.tiletodaymagazine.com.au
AT A GLANCE SHOT: 23 Bride Lane, London EC4 (www.shot.london) Design: Wilson Holloway (www.wilsonholloway.com) Size: 70.2 square metres Cost: GBP140,000 (AUD224,969.46)
It is suitable for grand gestures, or small detailing; large pavillions or individual items of furniture. D-Tile objects can be very intimate and homely, or public or industrial. They are suitable for interior and exterior projects. In addition, the company has created a template for the free design programme, Sketchup, to help potential users design objects and spaces using DTile. It contains all DTile parts, while the design manual shows how to put these parts together. Once the design is created and the dimensions determined, the tiled objects can be manufactured. ■
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• Televisions • Light bulbs • Soaps and shampoos • Growing media including soil improvers • Indoor and outdoor paints and varnishes • Heat pumps • Tissue paper • All-purpose cleaners and sanitary cleaners • Personal and portable computers The coverings section located within its product catalogue lists hard coverings, which include ceramic tiles. A total of 14 companies/groups including 11 from Italy, two from Spain and one from Thailand offer a combined 5,203 products which have gained an EU flower, the symbol of the European Commission’s label.
Missed opportunities
Eco-labelled ceramic tiles The tile industry can play a role in protecting the environment and selling sustainable products. Eco-labels were created to provide a guide to products which have been rigorously tested, with results that have been verified by an independent body. Specifiers seeking to use environmentally friendly products are often concerned with specific elements such as recyclability and energy efficiency. In Australia, a number of agencies test the environmental credentials of various products. Good Environmental Choice Australia (GECA) in association with the Australian Tile Council (ATC) and the Australian Stone Advisory Association (ASAA) produced ‘GECA Standard 40-2008’ as part of their eco-label program. The importance of this issue is underlined by the number and variety of products and product groups which are tested worldwide. 52 | TILE TODAY #91 | www.tiletodaymagazine.com.au
The European Union (EU) list of eco-labelled products is extensive. Its emphasis in the assessment of a product’s environmental credentials is placed on a product’s capacity to have a low environmental impact throughout its life-cycle, which includes the use of appropriate materials at the production stage to its safe disposal at the end of its use. Visitors to the EU’s eco-label website (www.ecolabel.eu) will see that the following product groups are covered. • Footwear and textile products • Lubricants • Wooden furniture • Bed mattresses • Laundry and dishwashing detergents • Hard floor coverings • Textile floor coverings • Wooden floor coverings • Copying and graphic paper
Many of the listed ranges of ceramic tiles are produced by companies that export products to Australia. The local importer can save money and time by presenting the EU label to an agency, that will, for a reduced fee, provide an accreditation which can be promoted to specifiers who wish to specify tile in a project, particularly one which is a 4, 5 or 6-star Green Star rated development. A growing number of local purveyors of vinyl, linoleum, carpet, cork and timber products are able to provide specifiers with eco-labelled product. Suppliers of engineered stone (agglomerates) can also provide eco-labelled materials. From Tile Today’s perspective, some Australian-based importers of tile make no special effort to alert specifiers or consumers to the green, environmentally friendly, long lifecycle, easy to clean products they have resting in their warehouses. In fact, manufacturers of adhesives and related maintenance products appear to be more alert to the opportunities that can flow from gaining and promoting environmental credentials. Accreditation can be gained for a single series of tiles that have obvious architectural merit. With appropriate promotion, the benefits could outweigh the costs. ■
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MARKETS
Stability defines ceramic tile market Anthony Stock looks at the latest data on the global production and consumption of ceramic tiles.
W
orld production of ceramic tile declined in 2015 in comparison with 2014 by a mere 0.1 per cent to 12,355 million square metres. While output remained relatively stable or exhibited minimal growth in most legions, there was a modest 0.9 per cent decline in Asia, down from 8,703 million square metres to 8,627 million square metres in 2015. Production in Asia accounted for 69.8 per cent of total global production. The decline in output in Asia can be attributed to significant downturns in production in Indonesia, Iran and China which were not offset by increases in output in India and Vietnam. Total European production reached 1,790 million square metres, which equated to 14.5 per cent of world output. The European Union (EU) contributed 1,218 million square metres to that figure, registering 2.2 per cent growth in comparison to 2014. The American continent contributed 12.3 per cent of global
TABLE 2. WORLD CONSUMPTION AREAS 2015 (Sq.mt. Mill.)
% on world production
% var. 15/14
EUROPEAN UNION (28)
910
7.5
+5.0
OTHER EUROPE (Turkey included)
532
4.4
-2.0
NORTH AMERICA (Mexico included)
505
4.1
+9.3
CENTRAL-SOUTH AMERICA
1,279
10.5
-0.5
ASIA
8,166
67.1
+0.6
731
6.0
-2.7
52
0.4
+8.3
413
3.3
+3.0
5
0.0
0.0
12,175
100.0
+0.8
AREAS
AFRICA OCEANIA AFRICA OCEANIA TOTAL
production, totalling 1,520 million square metres. North America (including Mexico) enjoyed 6.2 per cent growth, while Central and South America fell by 0.1 per cent. In terms of consumption, growth of 8.3 per cent is attributed to Oceania, 9.3 per cent to North America and 5 per cent to Europe. Slight growth of 0.6 per cent was experienced in Asia.
TABLE 1. WORLD MANUFACTURING AREAS 2015 (Sq.mt. Mill.)
% on world production
% var. 15/14
EUROPEAN UNION (28)
1,218
9.9
+2.2
OTHER EUROPE (Turkey included)
572
4.6
+0.4
NORTH AMERICA (Mexico included)
327
2.6
+6.2
CENTRAL-SOUTH AMERICA
1,193
9.7
-0.1
ASIA
8,627
69.8
-0.9
413
3.3
+3.0
5
0.0
0.0
413
3.3
+3.0
5
0.0
0.0
12,355
100.0
-0.1
AREAS
AFRICA OCEANIA AFRICA OCEANIA TOTAL
54 | TILE TODAY #91 | www.tiletodaymagazine.com.au
Overall, global consumption of tile totalled 12,175 million square metres, a modest rise of 0.8 per cent compared to 2014.
World exports Global exports of tile grew considerably in the 2010 to 2013 period. Slower growth materialised in 2014 and that trend continued in 2015 when exports increased by 1.5 per cent from 2,695 to 2,735 million square metres. However, the EU experienced a rise of 4.5 per cent from 819 million square metres (2014) to 856 million square metres. The increase could largely be attributed to a significant rise in Spanish exports. Asian exports rose by 1.3 per cent to total 1,514 million square metres, 19 million square metres higher than the figure achieved in 2014. This corresponds to 55.4 per cent of world exports. Remarkably, the EU exported 70.3 per cent of its total production, while non-EU Europe experienced a decline of 2 per cent from 26.3 to 24.3 per cent. It seems evident that tiles tend to be produced close to the place of consumption. This is confirmed by the
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MARKETS
TABLE 3. WORLD EXPORTING AREAS 2015 (Sq.mt. Mill.)
% on world production
% var. 15/14
EUROPEAN UNION (28)
856
31.3
+4.5
OTHER EUROPE (Turkey included)
139
5.1
-7.3
65
2.4
-1.5
126
4.6
+5.0
1,514
55.4
+1.3
35
1.3
-22.2
0
0.0
-
2,735
100.0
+1.5
AREAS
NORTH AMERICA (Mexico included) CENTRAL-SOUTH AMERICA ASIA AFRICA OCEANIA TOTAL
fact that more than half of the exported products are shipped to destinations within the same geographical area. For example, 64 per cent of Asian exports are shipped to other destinations in Asia, 87 per cent of South America’s exports remain in the region, while 79 per cent of North America’s exports remain in the NAFTA region.
Top 10 manufacturing countries The Europeans have always experienced difficulties in accurately estimating just how much tile is
produced in China, largely because the Chinese do not seem to be able to agree on an actual figure. Ceramic World Review reports that there are very large discrepancies between the available figures. Nevertheless, it concludes that production of tile reached 5,970 million square metres in 2015, down 0.5 per cent on the figure achieved in 2014. Remarkably, this figure corresponds to 48.3 per cent of global production. Official Chinese sources indicate that actual production capacity
exceeds 10 billion square metres, from 1,400 companies and 3,500 factory lines. The latest estimates place domestic consumption at 4,885 million square metres, or 40.1 per cent of world production. Brazil, the world’s second largest producer of tile experienced its first downturn, following 20 years of growth. Production dropped 0.4 per cent to 899 million square metres, after a decline in local demand, which was partially relieved by an 11 per cent increase in exports, which rose to 768 million square metres. Spain produced 440 million square metres of tile, which equates to 3.6 per cent of total world production. This figure represents a 3.5 per cent increase by comparison with 2014. Italy produced the sixth highest amount of tile; 395 million square metres, which represents a 3.4 per cent annual increase. The quality of Italian tile is highly valued around the globe, and it is confirmed by the average per square metres price of 13.7 euros, versus 6.5 euros per metre (Spain), and approximately 4 euros per square metre charged by the seven other nations listed in Table 5. No figure was available for China.
TABLE 4. TOP MANUFACTURING COUNTRIES COUNTRY
2011 (Sq.m Mill.)
2012 (Sq.m Mill.)
2013 (Sq.m Mill.)
2014 (Sq.m Mill.)
2015 (Sq.m Mill.)
% on 2015 world production
% var. 15/14
1
CHINA
4,800
5,200
5,700
6,000
5,970
48.3%
-0.5%
2
BRAZIL
844
866
871
903
899
7.3%
-0.4%
3
INDIA
617
691
750
825
850
6.9%
3.0%
4
SPAIN
392
404
420
425
440
3.6%
3.5%
5
VIETNAM
380
290
300
360
440
3.6%
22.2%
6
ITALY
400
367
363
382
395
3.2%
3.4%
7
INDONESIA
320
360
390
420
370
3.0%
-11.9%
8
TURKEY
260
280
340
315
320
2.6%
1.6%
9
IRAN
475
500
500
410
300
2.4%
-26.8%
10
MEXICO TOTAL TOTAL WORLD
221
231
230
230
242
2.0%
5.2%
8,709
9,189
9,864
10,270
10,226
82.8%
-0.4%
10,626
11,224
11,958
12,373
12,355
100.0%
-0.1%
Source: Acimac Survey Department “World production and consumption of ceramic tiles”, 4th edition 2016
56 | TILE TODAY #91 | www.tiletodaymagazine.com.au
Merry Christmas B.A.T. Trims would like to wish you all a Merry Christmas and a Safe and Happy New Year. Thank you for your support and look out for some exciting new products in the new year.
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TABLE 5. TOP EXPORTING COUNTRIES COUNTRY
2012 (Sq.m Mill.)
2013 (Sq.m Mill.)
2014 (Sq.m Mill.)
2015 (Sq.m Mill.)
% on 2015 national production
% on 2015 world exports
% var. 15/14
Value 2015 (million €)
Average export price €/ sq.m)
1
CHINA
1,086
1,148
1,110
1,089
18.2%
39.8%
-1.9%
n.a.
n.a.
2
SPAIN
296
318
339
378
85.9%
13.8%
11.5%
2,452
6,5
3
ITALY
289
303
314
317
80.2%
11.6%
0.9%
4,318
13,7
4
INDIA
33
51
92
122
14.4%
4.5%
32.6%
498
4,1
5
IRAN
93
114
109
112
37.3%
4.1%
2.8%
380
3,4
6
TURKEY
92
88
85
77
24.1%
2.8%
-8.9%
451
5,9
7
BRAZIL
59
63
69
77
8.6%
2.8%
11.0%
265
3,4
8
MEXICO
63
64
62
61
25.2%
2.2%
-1.6%
320
5,2
9
EAU
54
58
55
54
71.1%
2.0%
-1,8%
297
5,5
POLAND
42
48
42
42
30.4%
1.5%
0.0%
222
5,3
TOTAL
2,107
2,255
2,277
2,329
24.2%
85.1%
2.2%
TOTAL WORLD
2,524
2,666
2,695
2,735
22.1%
100.0%
1.5%
10
Source: Acimac Survey Department “World production and consumption of ceramic tiles”, 4th edition 2016.
TABLE 6. TOP IMPORTING COUNTRIES COUNTRY
2011 (Sq.m Mill.)
2012 (Sq.m Mill.)
2013 (Sq.m Mill.)
2014 (Sq.m Mill.)
2015 (Sq.m Mill.)
% on 2015 national consumption
% on 2015 world imports
% var. 15/14
1
USA
131
139
160
159
175
68.9%
6.4%
9.9%
2
SAUDI ARABIA
134
155
155
149
174
66.2%
6.4%
16.8%
3
IRAQ
80
105
121
102
106
99.1%
3.9%
3.9%
4
GERMANY
90
89
89
95
100
83.3%
3.7%
5.3%
5
FRANCE
110
107
96
99
99
87.6%
3.6%
0.0%
6
SOUTH KOREA
63
61
65
76
85
63.9%
3.1%
11.8%
7
NIGERIA
47
61
84
90
70
86.4%
2.6%
-22.2%
8
UAE
50
52
53
54
64
74.4%
2.3%
18.5%
9
PHILIPPINES
31
38
46
53
60
61.9%
2.2%
13.2%
THAILAND
46
52
68
49
56
29.2%
2.0%
14.3%
782
859
937
926
989
68.4%
36.2%
6.8%
2,346
2,524
2,666
2,695
2,735
22.5%
100.0%
1.5%
10
TOTAL TOTAL WORLD
Source: Acimac Survey Department “World production and consumption of ceramic tiles”, 4th edition 2016.
Top importing countries Table 6 indicates that the United States imported 175 million square metres of tile, representing a 9.9 per cent increase. Saudi Arabia, in second place, increased their imports by 16.8 per cent. 58 | TILE TODAY #91 | www.tiletodaymagazine.com.au
Several other countries recorded double digit rises, including the UAE, which increased its imports by 18.5 per cent. Note: Thank you to Ceramic World Review for its continued assistance in providing Tile Today magazine with the
material required to create this industry snapshot. It has been extracted from a report prepared by the Acimac Research Department (Italy). ■
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Moisture, concrete and tiling installations In his latest article, Fred Gray from Laticrete Technical Service discusses how to effectively manage around moisture issues.
A
fter many years of trouble shooting membrane installations I have learned many lessons when it comes to moisture in concrete substrates and its effects on these applications, including any subsequent finishes. Information on how to identify and mitigate some of the moisture problems is based around the following information from our technical data sheets and many global and local standards. Materials used in tile and stone installation applications can be affected by moisture during the installation and curing phases. Some materials, such as waterproofing
membranes, may not cure properly or may delaminate from a continually wet substrate, or a substrate with a high Moisture Vapour Emission Rate (MVER). The main image (above) depicts a wet substrate that never allowed the membrane to cure which resulted in a damaged, delaminated membrane. A substrate which is damp or has a high MVER may also contribute to the formation of efflorescence. Concrete, masonry and associated levelling beds with a high MVER may also have an impact on a tile or stone installation. In certain/specific environments, the nature, extent and movement of moisture in concrete can be
ascertained with the tests below. As per AS1884-2012, there are generally two tests that are used to determine moisture content to internal concrete areas. They are: 1. Relative humidity (RH) in-situ probe test – Concrete subfloor shall be considered sufficiently dry when measurements taken in accordance with ASTM F2170 do not exceed 75% RH. 2. RH surface mounted insulated hood test – Concrete subfloor shall be considered sufficiently dry when measurements taken in accordance with ASTM F2420 do not exceed 70% RH. Other tests that can be performed to internal concrete areas include: 3. Calcium Chloride (ASTM F1869 – Standard Test Method for Measuring Moisture Vapour Emission Rate of Concrete Subfloors Using Anhydrous Calcium Chloride). The results of a calcium chloride test measure the amount of moisture absorbed and results are stated in µg/100 m2 in a 24-hour period. 4. Plastic Sheet Method (ASTM D4263 – Standard Test Method for Indicating Moisture in Concrete by the Plastic Sheet Method). The Plastic Sheet Method involves taping a 24” x 24” (600mm x 600mm) piece of plastic on the concrete and allowing the plastic to remain in place for 18–24 hours to determine if any moisture has accumulated under the plastic
FIGURE 1.
RELATIVE HUMIDITY %
38°C
100
90
80
70
60
50
40
30
20
10
0.948
0.854
0.758
0.663
0.569
0.474
0.379
0.284
0.189
0.095
32°C
0.639
0.621
0.551
0.482
0.414
0.344
0.275
0.209
0.138
0.069
27°C
0.506
0.455
0.405
0.357
0.303
0.253
0.202
0.152
0.101
0.051
24°C
0.429
0.386
0.343
0.3
0.258
0.214
0.172
0.129
0.086
0.043
21°C
0.362
0.326
0.29
0.253
0.217
0.181
0.145
0.108
0.072
0.036
18°C
0.305
0.274
0.244
0.213
0.183
0.152
0.122
0.091
0.061
0.03
16°C
0.256
0.23
0.205
0.179
0.153
0.128
0.102
0.077
0.051
0.026
13°C
0.214
0.192
0.171
0.149
0.128
0.107
0.085
0.064
0.042
0.021
10°C
0.178
0.16
0.142
0.124
0.107
0.089
0.071
0.053
0.036
0.018
60 | TILE TODAY #91 | www.tiletodaymagazine.com.au
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I N S TAL L AT I O N
when it is removed. Please note that the ASTM D4263 test should only be conducted in conditions as stated in the ASTM D4263 document and should not be relied upon to provide reliable data. Concrete contains moisture from the day it is poured and a generally accepted minimum cure time of 28 days (the accepted time to meets its designed strength) is required before a finish material is applied. It may be important to note that 28 days is not a magic number that relates directly to every concrete installation reaching optimal moisture content. Simply relying on 28 days can be insufficient and can lead to failure of materials which may be affected by high moisture levels. Our own tiling standard AS3958 recommends a minimum, additional six weeks air drying after curing of a concrete swimming pool shell before the use of particularly non-proprietary materials, in optimal conditions. The cure time of the concrete can vary depending on: 1. The water to cement ratio at the time of placement – the higher the amount of water in relation to the cement at the time of pouring can have a profound effect, not only on the amount of time that is required to reach acceptable moisture levels of the concrete, but also on the physical properties of the concrete. Excess water (or water of convenience) in the mix can have a negative impact on the performance of the concrete throughout its life. 2. Concrete thickness – thicker concrete means more water. More water means more time to reach sufficient moisture levels. 3. Method of curing – concrete slabs can be wet cured, damp cured or allowed to dry without additional water placed on top of curing concrete to improve the physical properties of the concrete. Wet curing and damp curing can have a profound effect on the time it takes the concrete to reach a level where the moisture content is suitable for installation of waterproofing membranes and/or finish materials.
4. Environmental conditions – Temperature, humidity, exposure to water, placement of vapour retarder, foundation drainage, when the building is fully enclosed, and when heating or air conditioning is turned on will all affect the amount of moisture in a concrete slab over extended periods of time. 5. Placement of the concrete pour – installations of concrete on grade or below grade can lengthen the amount of time required for a concrete slab to reach suitable moisture levels. 6. Proper placement of a vapour retarder and drainage layer – on grade or below grade concrete usually requires the proper placement of a suitable vapour retarder and moisture drainage layer. Properly designed and installed, these two components can greatly reduce the movement of moisture and moisture vapour through a slab and allow the concrete to maintain a reasonably consistent moisture level for many years. From a tiling prospective, there are essentially two types of moisture that can move through a concrete slab: negative hydrostatic pressure and moisture vapour emission. Negative hydrostatic pressure is actual water in contact with the bottom of the slab. This water freely moves through to the top of the slab by high head pressure through the capillaries of the concrete slab. Essentially, concrete is a very dense, very hard sponge. Concrete will use any available moisture to continue the hydration process and get harder and harder over time. In other words, concrete can continue to cure indefinitely when exposed to water. Negative hydrostatic pressure is a fairly rare occurrence and can be alleviated or dissipated by the use of sump pumps, foundation drainage (French drains, curtain drains, etc.) or good landscaping practices. Moisture vapour emission is moisture that passes through a concrete slab caused by slight pressure differentials between the exterior
and interior of the slab. Moisture vapour emission from concrete is a natural and necessary process for any concrete pour. Since the Portland cement in concrete only requires approximately 25% water content to hydrate properly then any excess water will more than likely pass out of the concrete slab as moisture vapour moving upwards through the slab into the structure. Considering that concrete, without the addition of plasticizers or superplasticizers, can have water content of 50% means that there can be a considerable amount of water that must pass through the slab as moisture vapour. The amount of moisture that passes through a slab is often governed by the permeability of the slab, which in turn is significantly governed by the water/ cement ratio of the concrete mix. In other words, the more water added to a concrete mix, in relation to Portland cement, can have a profound effect on the permeability, density and porosity of the concrete. The more water, the lower the performance of the concrete in relation to moisture vapour transmission. AS3958 recommends a water cement ration of no more than 0.5. Moisture vapour tends to travel from areas of high pressure to areas of low pressure and low temperature (known as diffusion) following basic principles of physics. The chart above helps to explain how temperature and humidity work to draw moisture into a structure through walls and concrete slabs. If the temperature of the soil under a structure is 13°C and the RH is 100% then the vapour pressure equals 0.214; if the building interior is at 21°C and the humidity is 30% then the vapour pressure (RH in relation to temperature which increases or decreases in a non-linear fashion.) equals 0.108. This means that the moisture is driven into the building through the slab moving from the area of high pressure (0.214) to the area of low pressure (0.108). Proper placement of a suitable vapour retarder and drainage layer can help to minimise moisture vapour transmission.
When testing concrete using pin type moisture meter, it is necessary to determine exactly what the information provided by the meter is showing. For instance, many meters provide a value showing the moisture content of the surface being tested. However, the moisture content is NOT the percentage of RH deep in the concrete and should not be used as such. Generally, I use a moisture meter with a radio frequency sensor for relative testing, ie. comparing areas of known dryness against adjacent local areas and surroundings to pick up any differences in dampness. When looking for more accurate measurement, I rely on hygrometers with insitu probe tests for establishing the RH, in controlled conditions. A common misconception is that concrete actually begins to dry as soon as it is poured. While it may appear to be dry fairly quickly, a concrete slab will actually not begin to lose significant amounts of moisture until the building is fully enclosed and the heat or air conditioning is turned on. A building which is not fully enclosed will not show a pressure differential that will cause the concrete to begin losing moisture. This is why moisture testing performed on a concrete slab that is not in an enclosed and temperature controlled will give inconsistent and false readings. When membranes are installed over a concrete slab, these materials inhibit the moisture attempting to move through the concrete slab. If the amount of moisture moving through the slab is high (greater than 283 Îźg/ m2 per ASTM F1869 or 75% RH as measured with moisture probes per ASTM F2170) moisture can collect, and possibly condense under the membrane.
Effects of dew point temperature on flooring installation The effects of moisture vapour transmission, humidity, temperature, and dew point typically have a more deleterious effect on membranes, floor coatings (for example, epoxy, polyaspartic, paint, etc.) or any other type of flooring which is sensitive
I NSTALL AT I ON
to moisture related issues than on a tile or stone installation without a membrane. For our purposes, we will define dew point as the temperature at which the humidity in the air begins to condense in and on the concrete substrate. In all circumstances, please check with the finished flooring manufacturer for any installation guidelines, cautions or limitations prior to proceeding with the installation. When installing these types of floor finishes (other than direct adhered tile or stone without the use of a membrane) it may be wise to follow some basic floor laying practices: 1. Test and read the air temperature 2. Test and read the RH of the air in the room 3. Test and read the concrete surface temperature 4. Find the air temperature on the left-hand side of the dew point chart below 5. Find the RH of the air in the room on the dew point chart below 6. Intersect the air temperature with the RH of the air in the room 7. Take note of the reading at this correlation point 8. Compare this figure with the actual concrete surface temperature 9. If these two figures are within 3°C of each other, the floor covering should not be installed Please note that other factors influence the installation of the moisture sensitive flooring types mentioned above. These factors include, but may not be limited to, the pH of the concrete, the presence of negative hydrostatic water pressure and/or presence of curing compounds or sealers on the concrete. Failure to understand and follow these guidelines may cause premature failure of the flooring which are beyond the scope or responsibility of the flooring or installation material manufacturer.
Some effects of moisture on tile and stone Residual moisture from adhesives may also get trapped between the tile and the membrane and cause problems (ie. slow drying, warping of moisture sensitive tile or stone, etc.) 64 | TILE TODAY #91 | www.tiletodaymagazine.com.au
FIGURE 2. DEW POINT TEMPERATURE / CONCRETE TEMPERATURE COMPARISON CHART RELATIVE HUMIDITY % (AIR IN ROOM) 10
20
AIR TEMP.
30
40
50
60
70
80
90
100
DEW POINT (CONCRETE SURFACE TEMPERATURE)
40°F (4°C)
5
8
14
18
24
28
31
34
37
40
45°F (7°C)
5
9
16
23
28
32
36
39
42
45
50°F (10°C)
6
13
21
27
33
36
40
44
47
50
55°F (13°C)
8
16
25
31
36
41
45
49
52
55
60°F (16°C)
9
20
29
35
41
46
50
54
57
60
65°F (18°C)
10
24
33
40
46
51
55
58
62
65
70°F (21°C)
13
28
37
45
50
55
60
64
67
70
75°F (24°C)
17
31
42
49
55
60
64
68
72
75
80°F (27°C)
20
35
46
53
60
65
69
73
77
80
85°F (29°C)
24
40
50
58
64
69
74
78
82
85
90°F (32°C)
27
43
54
62
69
74
79
83
87
90
95°F (35°C)
30
48
59
67
73
79
84
88
92
95
100°F (38°C)
34
52
62
71
78
83
88
93
97
100
The collection of moisture can result in an increase of alkalinity of the concrete, which may exert some pressure in the form of moisture vapour on the membrane and can activate naturally occurring alkaline salts in concrete, creating a variety of chemical reactions within the concrete. Certain types of moisture sensitive stone and agglomerate tile can be affected by excessive moisture in the form of differential moisture expansion. This type of expansion can result in warpage of tile and possible delamination of the tile caused by the warpage. In some cases, a high moisture vapour emission rate can cause spalling of natural stone with organic content, such as limestone. High MVER is a major concern if the adhesive used to install the tile or stone is organic (for example, mastic) which can re-emulsify due to the high moisture level and increased alkalinity of the concrete. The use of a high performance, cement based grout when compared to an epoxy grout, will usually allow moisture vapour to easily pass through the floor system.
Controlling moisture Mitigating the effects of high MVER and high moisture content can be achieved by waiting for the areas
to be covered to dry to the desired levels. This also has benefits as more shrinkage is allowed to take place as well. However more often than not, this is not acceptable for tight construction programs and alternate solutions are always sought. Forced drying may remove surface moisture but not resolve the moisture deep in the substrate. The use of breathable moisture vapour barriers prior to the installation of the tiling system is a practical solution for many installations. These are coatings that block the bulk of the moisture which can affect the installation but yet still let controlled amounts through. Where the MVER or RH exceeds the recommended levels for the type of membrane or finish material being installed, proprietary Moisture Shields or Vapour Reduction Membranes are able to control the moisture or rate of moisture vapour emission. Testing can be conducted between coats till the desired level of reduction is achieved. Just remember you are installing over substrates that are still likely to shrink more as they eventually dry out and you may need some further consideration on controlling this additional movement in the tiling system. ■
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Bathroom waterproofing and the BCA Barry Schafer explains what the building code can mean when waterproofing bathrooms.
T
he Building Code of Australia (BCA) has since 1996 has been a performance based code. For bathrooms, which come under the wet area classification in detached dwellings, the relevant performance Clause is F1.7 ‘Waterproofing of wet areas’ in buildings which states: “The following parts of a building must be impervious to water: (a)In any building – the floor surface or substrate in a shower enclosure, or within 1.5 metres measured horizontally from a point vertically below the shower fitting, if there is no enclosure. (b)In a Class 3, 5, 6, 7, 8 or 9 building – the floor surface or substrate in a bathroom or shower room, slop hopper or sink compartment, laundry or sanitary compartment which is used in common by the occupants. (c)In a Class 2 or 3 building or a Class 4 part – the floor of those rooms fitted with a floor waste in accordance with F1.11. (d)The wall surface or substrate – (i) of a shower enclosure, or if the shower is not enclosed, within 1.5 metres and exposed to a shower fitting, to a height of 1.8 metres above the floor; and (ii) immediately adjacent or behind a bath, trough, basin, sink, or similar fixture, to a height not less than 150 mm above the fixture if it is within 75 mm of the wall. (e)The junction between the floor and the wall if the wall and floor are required to be impervious to water. (f) The junction between the wall and fixture if the wall is required to be impervious to water.”
66 | TILE TODAY #91 | www.tiletodaymagazine.com.au
The reference to F1.11 is for the case where flooding from an occupancy above can affect those below. F1.11 Provision of Floor Wastes states: “In a Class 2 or 3 building or Class 4 part, the floor of each bathroom and laundry in a sole-occupancy unit which is located at any level above another sole occupancy unit must be graded to permit drainage to a floor waste.” Compliance to AS 3740 – 2010 (incorporating Amendment No. 1) ‘Waterproofing of domestic wet areas’ is deemed to satisfy the requirements of these BCA Clauses. Any Australian Standard that is referenced in the BCA as a deemed-to-satisfy solution is written to give the minimum requirements to comply with the BCA and in doing so keeps the cost of construction to a minimum. Figure 1 illustrates a shower treatment.
There are some handbooks available which go beyond these minimum requirements. This can cause some confusion within the industry but compliance with AS 3740 meets the minimum required by the BCA. For a shower, the waterproofing and water resistant requirements specified in AS 3740 are depicted in Figure 1. The height of the waterproofing up the walls (the 150mm or 25mm above maximum water level) depends on if there is a step-down in the floor or a hob. Both of these can result in a greater height than the specified 150mm. To determine the maximum water level, one needs to consider the retention height effects of the surface finish and the shower enclosure across the opening. These can often raise the water height by up to 40 mm
Left: Figure 2 (top) shows water retained on the floor and Figure 3 (bottom) shows water that has been retained on a wall. Below: Figure 4 indicates fungal growth on the external corner of a shower recess.
Part (e) of F1.7 also states that the wall/floor junction of the periphery of the bathroom should be impervious. This is to prevent water ingress into adjoining rooms in the case of an accidental flooding of the bathroom floor. Bathrooms often have bedrooms backing onto
them. The bedrooms can have built-in wardrobes against the bathroom walls with raised floors. Leaking under these raised floors can go unnoticed for some time, so it is essential that water is not allowed to enter into walls or adjoining rooms. This seal can be achieved with a flashing angle or by sealing a water-resistant material (tiles or hardwood timber) onto a waterresistant floor surface. If waterproofing is carried out in a bathroom in accordance with the requirements of AS 3740 the surprise which greeted an occupant when they arrived home from a vacation can be avoided. (Figure 4.) This type of fungus grows very quickly when spores are deposited on damp surfaces, created by a water source like a damp timber substrate. ■
Anti Skid Rug Spray above the substrate level across the opening. There is always the requirement to waterproof the internal corner as shown in Figure 1 as internal corners have a history of movement caused by one of more of the following: temperature changes; timber movement or foundation movements. Any resultant cracking in the corner can allow water penetration back behind the water-resistant wall sheeting which would fail to meet the requirements of F1.7 of the BCA. The return of the waterproofing up the walls also waterproofs the wall floor junction. This area can also be subjected to movement created by the same issues which may affect the internal
wall junction. Depending on the class of membrane being used AS 3740 details different types of bond relieve, at these junctions, to allow the elasticity of the membrane to cater for the expected movement. Most of the wall within the shower recess is only required to be water resistant because it is only subjected to water splash, and not water flow as occurs across the floor of a shower. Even the volume of water retained after showering varies, as shown in Figure 2, which depicts a section of a floor and Figure 3 which shows a section of a wall. The size of the beads of water on the floor are much bigger than those which are present on the wall.
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www.tiletodaymagazine.com.au | TILE TODAY #91 | 67
F E AT U R ED P R ODUCTS
The Doors range With its unique appearance, the Doors collection transforms the look of any space with its flooring tiles that come in many different sizes. There are also mosaics in a wide variety of shapes for feature walls, bathrooms and showers. It is available in an R10 finish and lappato for commercial shops or residential homes. STARSTILE (FENICE INTERNATIONAL) www.starstile.it
Contemporary marble style Atlantis Marble is a collection of wall and floor tiles that is inspired by the elegance of marble to furnish contemporary styled interiors. These glazed porcelain tiles express the essence of marble in two colours: white and brown. They also come in two types of finishes: matt and glossy in the formats of 59.5 x 59.5cm, 59.5 x 89.35cm and 29.65 x8 9.35cm. The collection is complemented with a decoration RAK CERAMICS set in white in 29.65 x 89.35cm 1300 661 727 and mosaics in square, octa and www.rakceramics.com strip shaped tacos.
ZEN range by Ezarri Europe Imports is introducing its new ZEN Collection mosaic tiles from Ezarri Spain.The collection comprises two ranges, “Stone” which draws a lot of inspiration from the natural beauty of stone and marble and “Wood” which is influenced by the warmth and natural beauty of forests and woods from around the world. EUROPE IMPORTS 02 9624 3929 www.europeimports.com.au
Handmade wall art G Vega’s handmade ceramic tiles are inspired by traditional Islamic patterns and geometric shapes. The artists at G Vega have created a four-design collection. Each ceramic tile is carved, painted and glazed carefully by hand. The Moroccan range comes in square and circular tiles of varying sizes and colours. It is available in turquoise, white and blue, white or in aged silver. G VEGA www.gvega.com
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World of Technology
16 - 19 March 2017
Jakarta Convention Center - Indonesia
Keramika 2017 will feature over 100 exhibitors covering the entire manufacturing of the ceramic industry from technology, supplies, materials and coverings to over 10,000 ceramic industry professionals in ASEAN.
www.keramika.co.id Co-organised by :
Book your booth now Mr. Steven Chwee
Ms. Phua Meenyi
Project Director
International Sales
steven.chwee@reedpanorama.com
meenyi.phua@reedexpo.com.sg | +65 6780 4537
Mr. Marzuki Herry
Ms. Kartina
marzuki.herry@reedpanorama.com
kartina.lydiawati@reedpanorama.com | +62 21 2556 5016
Project Manager
Marketing enquiries, publicity & media requests & partnership
keramika indonesia keramikaid keramika indonesia keramikaid
F E AT U R ED P R ODUCTS
A marvel in marble
High performance adhesive
A precise and realistic porcelain version of Statuario and Carrara marble, the All Marble Series is made in Italy and offers an affordable and high quality alternative for designers and builders. The Naturale and Silk finish echo genuine stone, making this range one of Ace Ceramics’ most popular tiles to date. It is available in 600 x 600mm, 600 x 1200mm and a 210 x 182mm Hexagon Naturale finish. The Silk finish is available in a 580 x 1160mm slab. Suitable for internal wall and floor surfaces. ACE CERAMICS
A deformable cementitious adhesive, the Keraflex Maxi S1 is available in grey and white with extended open time and no vertical slip. Ideal for the installation of large format tiles and natural stone in interior and exterior areas. Ideal for tile-ontile installations, tiling over green screeds and with underfloor heating systems. Keraflex Maxi S1 is also suitable for use in swimming pools and displays a high bond strength and can be used as a medium bed adhesive up to 15mm. It has been tested and approved with all major acoustic matting brands.
02 9584 4000
MAPEI AUSTRALIA
www.aceceramics.com.au
1800 652 666 www.mapei.com.au
Porcelain countertops Mainly conceived for use as countertops, iTOPKer solutions from Metro Tiles offers a design potential that was hitherto unimaginable, with no need for tile joints. This range can also be used in more ambitious, complex applications. iTOPKer solutions countertops come in a choice of colours and visual finishes, ensuring an elegant, clean and, trendsetting design. METRO TILES 07 3216 5800 www.metrotiles.com.au
Safe and stylish The Punto Zero collection comprises surfaces with different technical characteristics that share the same material and chromatic language. It is available in natural or semi-polished to emphasise a mood and style. This range is also about safety,guaranteed by the use of “Grip” anti-skid surfaces for the 60 x 120, 20 x 120 and 60 x 60 formats. These tiles are specific for outdoor areas and being distributed through National Tiles. NATIONAL TILES 1300 733 000 www.nationaltiles.com.au
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LOCAL NEWS Amber Tiles has a new owner Kim Hin Industry (KHI), one of Malaysia’s largest integrated tile manufacturers, has acquired Outset Holdings, the parent company of retailer Amber Tiles. The move builds KHI’s Australian presence, it’s main export market. Amber Tiles has a network of 24 franchised stores (22 in New South Wales and two in Queensland) and three company-owned stores. It also operates a wholesaling business which includes a distribution centre based in Blacktown (NSW). The tile retailer will now be able to benefit from being in the same corporate group that includes Johnson Tiles. In 2014, Kim Hin bought UKbased Norcros and its unit, Johnson Tiles which has operated in Australia for over 50 years. With showrooms in Melbourne, Sydney and Brisbane, Johnson Tiles has a long, history grounded in manufacturing, product development and customer service. Its cutting edge products at competitive prices will add international group research and buying strength to Amber’s offering. Kim Hin Managing Director, John Chua said, “This latest acquisition will help grow Amber’s retail presence in Australia and expand the business significantly. The iconic brand also represents a unique opportunity for KHI to enter the NSW tile and paving sector...”
The Brave tile range in Pearl by Amber Tiles (top) and tiles by the pool by Amber Tiles (above).
Kim Hin is said to be looking at potential targets in Perth, as the company seeks a foothold in the western part of the country. With intensified marketing efforts and increased sales, Chua is confident that the company will be able to double its exports to Australia in the next few years. Australia accounted for about onefifth of the group’s production. Kim Hin also exports to other markets including the United States, the Middle East, India and Pakistan. Since it began in 1973, the company has become one of Malaysia’s top three ceramic tile makers. It received the Prime Minister’s Award for Excellence for ceramic tiles in 1993.
ARDEX turns 50 For fifty years, ARDEX Australia has been helping Australians build homes. When the company started in 1966 as Australian Building Adhesives (ABA), it had four equal shareholders who were committed to the development of tile adhesives for the local market. From the beginning ABA created products for tiling systems and introducing new methods. Their efforts were rewarded with a loyal following. Some of the early products such as ABA Tileset, Super Tileset, Abaflex and the CTF and Resaflex have maintained a strong reputation. Although shareholders changed, the ABA brand remained strong. The company continued to invest in research and the company expanded. It introduced revolutionary under tile waterproofing membranes such as Superflex and wall tile adhesives such as Abamastic. By 1996, Norcros Building Products (Australia) which had already owned 50% of ABA at this stage, bought the remaining 50%. This made ABA a wholly owned subsidiary of Norcros.
From left: Ian Forster, Jack Grace and Mark Eslamlooy.
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The ABA business complemented Norcros’ extensive range of products and solutions for the building industry including Shelter (formerly Dunlop) sheet membrane systems and Hydrepoxy coatings. As ABA maintained its presence in the local market and toughed out recessions and periods of uncertainty, the company also secured a foothold in the Asia Pacific region including Taiwan, Hong Kong, Singapore, China and New Zealand. In December 2001, Norcros was acquired by ARDEX GmbH and the following year, Vibro Products joined the corporate family, bringing its expertise in the floor levelling manufacturing. All the brands, Norcros, ABA, Shelter, Superflex, Hydrepoxy and Vibro, could be integrated under the one ARDEX umbrella. This was a turning point for ARDEX Australia. It had reached a position with an extensive range of engineered products and a superior level of technical and manufacturing expertise to deliver a complete system solution to the Australian market. From its simple beginnings, ABA has become ARDEX Australia with a revenue exceeding AUD100 million today. There are 160 employees working from its Sydney headquarters, along with its five manufacturing facilities and seven warehouses. ARDEX Australia is proud to be part of the international ARDEX Group with 47 subsidiaries in more than fifty countries, and employing more than 2,500 people around the world. ARDEX will always to look to the global market, sourcing technical excellence to develop new products for the ARDEX portfolio. It continues to work to deliver the best system solutions by staying alert to what is happening around the rest of the world. ARDEX will go on investing in people who are rich in experience and an asset to their many loyal customers. The close relationships, support and invaluable dialogue between ARDEX and its customers over its 50-year history is instrumental to the company’s success today. ARDEX first employed a technical services team in 1999 to provide another level of support to its growing customer base. This service continues to evolve with a range of digital resources, including instant online specifications, calculators
and product information tailored for each client. In 2012, ARDEX built an ARDEX Training Academy in Sydney and will open two more academies in Melbourne and Brisbane. Fifty years of innovation has occurred through a supportive network and a communal desire for excellence. It is these partnerships between employees, customers, suppliers and the global ARDEX community that will ensure the next fifty years of success.
Caesarstone collaboration for 2017 Quartz manufacturer Caesarstone announces its collaboration with world renowned designer Jaime Hayon for its 2017 Designer Programme. The first installment of this year-long collaboration will be uncovered in January 2017 at the Interior Design Show, Toronto, Canada followed by a major event during Milan Design Week in April. Under the title of “Stone Age Folk” Hayon will use Caesarstone as a precious component of his whimsical universe inspired by fauna – the natural world – and folklore. Blending fantasy with functionality, playfulness with craft and interactivity with cultural references, Hayon will create a kaleidoscopic installation, which includes his signature smiling characters popping up throughout the space, alongside joyful carousels, wall panels, lights and tables. The installation uses over 48 different Caesarstone colours combined with metal and glass, employing high-end traditional techniques of stone marquetry and metal crafting, elevating the material to the luxury of a precious stone. Hayon said: “People tend to see Caesarstone as a material that is only used in kitchens, but I looked at it from the viewpoint of an artist and designer. With this in mind, I wanted to create my own imaginative cosmos, using the brand’s quartz material alongside other noble materials like glass and metal.” Eli Feiglin, VP of marketing at Caesarstone explains, “Entranced by
Hayon’s fantastic world and ability to combine different Caesarstone colours and materials in such an effortless, elegant way, we were inspired to work with him on a new collaboration that, drawing on the successful 2015 collaboration on the commissioned mask Face Mirror, will further demonstrate the beauty and strength of Caesarstone, whilst providing his own artistic, visionary interpretation.” Hayon was born in Madrid in 1974. His artistic vision was first fully exposed in the ‘Mediterranean Digital Baroque’ and ‘Mon Cirque’ installations. These collections put him at the forefront a new wave that blurred the lines between art, decoration and design and a renaissance in finely-crafted, intricate objects within the context of contemporary design culture. Hayon further defined his vision in subsequent solo exhibitions and shows at major galleries, and design and art fairs all over the globe. His client base spans diverse functions and mediums, including domestic furniture for b.d. barcelona, Cassina, Fritz Hansen, &Tradition, and Magis; lighting fixtures for Parachilna, Metalarte and Swarovski; and sophisticated objects for Bisazza, Lladró and Baccarat. Designer Jaime Hayon with the ‘Face Mirror’ art installation. Image credit: Leah Chesnokov.
A sketch by designer Jaime Hayon who is collaborating with Caesarstone on an installation. Image credit: Jaime Hayon Studio.
He has also executed complete interiors for leading hotels, restaurants and retail establishments worldwide. Hayon’s work has appeared in the most prestigious art and design publications worldwide. He has won numerous prizes including multiple Elle Decoration International Design awards; has featured in Wallpaper Magazine in its “Top 100” list and recognised by the publication as one of the most influential creators of the last decade, and lauded as a “visionary” and one of the most creative icons by Times magazine.
Davco launches in New Zealand Davco is partnering with Tilemax, a major stockist of wall, floor and specialty tiles, based in Wellington, New Zealand. With four branches across the county, Tilemax has extensive experience in selecting the best value tiles, best design and range from around the world. Its tiles come directly from international factories and arrive to the warehouse at the lowest possible price, relative to quality, for customers. Behind the scenes, Tilemax hand pick its range, check the quality, inspect the factories and ensure that the tiles they supply exceed international standards. For renovators, builders or those completing a home improvement project, Tilemax says it stocks all the products required need to complete a tiling job all under one roof. Tiles, porcelain, stone, mosaics, tools and now Davco’s extensive range of primers, waterproofing membranes, adhesives, grouts and sealants are available from Tilemax.
Davco products have just become available through Tilemax in New Zealand.
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NEWS
RAK Ceramics unveils new logo in Australia RAK Ceramics PJSC, one of the largest ceramics brands in the world, recently launched its new corporate brand identity. Developed to bring together its global subsidiaries, the official roll out began in September at its headquarters in the UAE. Following the implementation of the new brand identity in the GCC (Gulf Cooperation Council) and Europe, it will be rolled out in Australia with the local launch set to take place mid-December. The official announcement was made at Cersaie 2016 in Bologna, Italy at the RAK Ceramics stand which clearly articulated the company’s proposition, ‘Room for Imagination’, and featured the company’s latest products and designs. Abdallah Massaad, RAK Ceramics’ Group Chief Executive Officer said: “We celebrated a milestone when we launched our new corporate brand identity earlier this year and we are delighted to be rolling it out in Australia. The development of our new brand identity is part of our Value Creation plan which was launched in 2014 and designed to improve integration across the business; streamline our distribution networks and unify our brand globally.” He added: “RAK Ceramics has 25 years of ceramics’ expertise. It is this experience, our wide product range, strong focus on innovation and continued commitment to delivering high quality products which are the four main pillars upon which our new proposition is based. Our products are already featured in some of the most iconic buildings around the globe and the launch of our new brand identity reflects our aspirations to become the leading ceramics lifestyle solutions provider in the world.” RAK Ceramics also presented its most recent designs at Cersaie, launching 30 collections of porcelain and ceramic tiles, alongside new sanitaryware and tableware collections. The latest tile collections include a range of marbles, woods, bricks, concrete, textiles and stones.
RAK Ceramics has the capacity to produce 110 million square metres of tiles, 5 million pieces of sanitaryware, 24 million pieces of porcelain tableware and 600,000 pieces of faucets per year at its 17 state-ofthe-art plants across the United Arab Emirates, India, Bangladesh and Iran. Founded in 1989, the company serves clients in more than 150 in Europe, the Middle East and North Africa, Asia, North and South America and Australia. It is a publicly listed company on the Abu Dhabi Securities Exchange in the United Arab Emirates and on the Dhaka Stock Exchange in Bangladesh. Turnover is approximately USD1 billion.
Show-stopping benchtop is for sharing Taking the best of what natural stone has to offer in beauty and design, essastone has re-launched its sophisticated collection of durable stone surfaces that have been created for life – the way most people live it now. Made with up to 95% natural quartz, the new essastone range is more resilient than ever, so that the benchtops can resist life’s wear and tear. Offering a stone solution that survives thrills and spills, essastone’s key benefits include guarding against staining, scratching and citrus acid stains. It is also very easy to clean, and can retain its exterior appearance. The latest in interior design reveals the desire to achieve raw, natural looks, with a lot of texture. Veined decors are becoming increasingly popular as is the strong demand for concrete looks. Reflecting emerging design trends, essastone is suitable for a range of surfaces throughout the home including benchtops, vanities and decorative features. Selected specifically for Australian interiors, the latest stone and concrete designs offers styles from classic European to modern industrial. Marketing manager Josh Woods said the re-launch of the brand gives homeowners more choice when it comes to creating long-lasting interiors for everyday use. He said:
Pictured (clockwise from top left): essastone in Cararra used for a bathroom; essastone in Cararra used for the benchtop; essastone benchtop in Bitumen; essastone benchtop in Ash Concrete.
“When we live well, our benchtops live well too and essastone is the perfect surface that’s made to handle it all. It’s there for three meals a day, every dinner party, every piece of homework, every snack and unexpected occasion. At essastone, we celebrate life; not just the beautiful moments, but the mess and the spills too.” Essastone’s versatile designs that can be fabricated to make a variety of decorative solutions. The latest range encompasses the following four collections across 31 design options, including Concrete Pezzato – the brand new weathered finish, exclusive to essastone. • Elemental: a classic design palette that is both sophisticated and affordable with large sheets on offer • Luxe: a collection of contemporary and popular designs • Vogue: a trend led collection featuring an elegant palette of décors and finishes • Evolve: a premium collection which showcases the latest in innovative décor designs With a 15-year limited warranty, essastone’s high-end quality makes it the ideal surface choice for kitchens and bathrooms.
NEWS
advisory
panel The 2016 Editorial Advisory Board includes leading authorities on standards, installation practices and products, architecture and developing trends and technologies. Peter Carter President, Australian Tile Council Gianni Pallotti Everstone Pty Ltd Raewyn Hughes Ardex Australia Peter Hartog Jackson Teece Chesterman & Willis Architects Carl Strautins Safe Environments Alex Njoo Architect and member of ARB, Victoria Fred Gray Laticrete Australia Andrew Nunn Parex Group Gary Jones Eco Ceramic Façade Systems Richard Mackenzie Ocean & Merchant
Specialist B2B Publisher Supporting the industry since 1981
To discuss advertising opportunities, contact: Ashley Cooper E: ashley.cooper@ elitepublishing.com.au Ph: 03 9890 0815 Fax: 03 9890 0087
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sleek, modern colours that breakaway from the traditional orange.” From the Courier Mail Monier manufactures concrete, terracotta, elemental and solar roof tiles.
Space age roof tile from Monier Australian roofing company, Monier has launched a new roof tile range that uses material originally developed for the aerospace industry. It is five times lighter than concrete and withstanding up to 300kg of weight. General manager Drew Spiden said the Elemental Series is ideal for Queensland climate conditions featuring a rust resistant, long-lasting UV colour fast coating and a strong resilience against dent and impact damage. He told the Courier Mail: “Designed to protect your family from Australia’s testing climate conditions, the series provides a strong, durable material that can withstand soaring summer temperatures, salty sea air and powerful hail storms.” Depending on the pitch and lay of the land, a roof can make up to 30 per cent of the visual impact of a home. Spiden said: “If your roof fades, so too does the overall appearance of your property. Homeowners want a roof that elevates their home’s design, provides a beautiful visual impact, while also delivering long term performance and protection.” He said market feedback showed that customers wanted more colour and design options for their roof so Monier had partnered with design expert Kathy Demos, to develop some new additions, including a metallic finish on two of the new profiles. He said, “The colour additions, including the metallic options Mars and Comet, have allowed us to create a modern day interpretation of terracotta with an aesthetic homeowners would not expect from traditional terracotta tiles. “The terracotta tile has been around for centuries, which is a testament to its durability. The colour is baked onto the tile which means it does not fade. It is the only roofing material that offers a lifetime colour guarantee. The new additions combine the hero features of the original terracotta tile with
Destination for bespoke tiles Interior designers, architects and builders have a new location for limited and exclusive tiles and stone designs sourced from across the globe, with the opening of the first Surface Studio in Drummoyne, west of Sydney. Established in 2013 by tile industry trend-setter Karen Reid, Surface Studio was born from her passion for beautiful stone surfaces and ceramic tiles. With a network of quality manufacturers, craftsmen and prestige suppliers from around the world, Surface Studio is able to source unique products as well as create customised designs or colour matching to meet the most detailed requirements of any project, large or small. The Surface Studio showroom features the latest tile trends with a wide range of premium ceramic, glass, hand glazed, porcelain, terracotta and modern 3D textured tiles and materials to suit design briefs for commercial and residential projects. Combined with a passion and understanding of the “hard surface” specification industry, Surface Studios has built its reputation on developing close relationships with Australia’s leading interior designers, architects and builders. It prides itself on delivering an outstanding level of customer service, paying particular attention to meeting project timelines and complex installation programs and deadlines.
Tabarka flooring from newly opened Surface Studio in Sydney.
INTERNATIONAL NEWS Norcros profit performance UK shower and tile manufacturer Norcros has hailed a “robust” first half as pre-tax profits climbed 10 per cent allowing for a higher dividend payment. In the six months to 30 September 2016, profit before tax rose to GBP7.7 million, up from GBP7 million a year ago. Revenues grew 8.5 per cent to GBP128.8 million, up from GBP118.7 million. The company said net debt had also reduced by GBP5 million since March. Norcros’ underlying operating profit also jumped by 11.1 per cent to GBP11 million, reflecting the incremental contribution from the acquisitions of bathroom supplier Croydex and kitchen and bathroom distributor Abode (UK). Chairman Martin Towers said: “I am pleased to announce a robust performance for the six months ended 30 September 2016 which demonstrates the resilience of the Group’s business portfolio. “The recent acquisitions of Croydex and Abode have been fully integrated into the group and are delivering performances in line with the Board’s expectations, and we remain on course to deliver on our strategy of growing the group both organically and through complementary acquisitions. “With our strong brands, leading market positions and continued self-help initiatives focused on market share gain the group is well positioned to make further progress.
The Tile Shop and Ted Baker US-based The Tile Shop, a specialty retailer of manufactured and natural stone tiles, has become the first North American retailer to offer the premium designer tile collection from Ted Baker, a global lifestyle brand. The Ted Baker collection, manufactured by UK tile specialist British Ceramic Tile, is now available at any of The Tile Shop’s 120 retail showrooms and online at tileshop.com. Select Tile Shop retail showrooms will also provide in-store merchandising of the distinctlydesigned floor and wall tiles in markets that overlap with Ted Baker retail locations, including Boston, New York, Chicago, Arizona and Washington DC.
index Ace Ceramics
5
ACT
62, 63, 74, 75
Ardex
39
Australian Tile Council
71
B.A.T. Trims
57
Bostik
47
CDK Stone
49
Cinajus
79
Clear Software
45
Colortile Distributors
25
Construction Technologies 34, 35, 55
Australia Distinctive Tile Imports
43
DW Tiles
11
Europe Imports
15
Everstone
21
Johnson Tiles
17
Liquid Rubber
67
Mapei
51 23, 59
Metro Tiles National Ceramics Industries
9
Parex Group
53
Prestige Tiles/RAK Ceramics
26
Southern Cross Ceramics Back Cover Starstile (Fenice International) Tile Power
American retailer, The Tile Shop is offering the Ted Baker tile collection
Kevin McDaniel, director of product design and development, The Tile Shop, said: “The Tile Shop continually strives to offer products that inspire each customer’s unique sense of style. So we are delighted to be the first US retailer to offer products from Ted Baker, a world-renowned fashion brand. Ted Baker’s iconic collection of tile and glass products are sure to delight and inspire interior designers and homeowners eager to make a distinctive fashion statement.”
13 2&3
Trade Port International
19
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A Norcros showroom
“Given the encouraging performance in the first half of the year, the board expects the group to achieve underlying operating profit in line with its expectations for the year to 31 March 2017.”
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www.tiletodaymagazine.com.au | TILE TODAY #91 | 77
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Founded in 1988 as a men’s specialty shirt store, Ted Baker is well-known for its quirky yet sophisticated fashion offerings, high quality design detailing and distinctive use of pattern and colour in a wide range of areas – including its designer collection of tile and glass. Craig Smith, brand communication director, Ted Baker, said: “As we evolve as a global lifestyle brand, we seek to align with like-minded companies that share our vision and unique style. In The Tile Shop, we have found an ideal partner that will introduce and propel our expanding collection of tile and glass products in the coveted U.S. marketplace.” Among the Ted Baker product lines offered by The Tile Shop are the following. ArTile: a series of sleek, light reflecting glass tiles printed using Ted Baker’s signature designs. Ideal for the kitchen or bathroom, these pieces are available in Shadow Floral, Vintage Rose, Flight of the Orient Grey and Mint. TacTile: a selection of textured tiles that brings a touch of style inspired by some of Ted Baker’s finest threads. These 3D wall tiles come in matte white and tonal grey and coordinate perfectly with the VersaTile range. VersaTile: a range of functional cementi tiles with a touch of flair. They can be coordinated with any of the Ted Baker selections, and come in three shades of grey and classic white.
Worldwide Tile Depot expands Philippines-based Worldwide Tile Depot has opened its latest branch in Davao City, maximising its opportunities in the booming local economy. The store is located close to the city’s architects, interior designers, contractors and property developers. Worldwide Tile Depot president Ann Leslie Ngo said, “We are very positive with the development and business boom of Davao and we want to take part of the growth here.” Ann Marjorie Yang, vice president – sales, said customers will have a wider range of choices for their projects as the new showroom offers an array of porcelain and ceramic tiles, vinyl tiles, bathroom fixtures and accessories, quartz and granite slabs, building boards, high-pressure laminates, light metal frames and other finishing materials. 78 | TILE TODAY #91 | www.tiletodaymagazine.com.au
TILE TODAY Proudly produced and printed in Australia ELITE PUBLISHING CO PTY LTD ABN: 27 006 876 419 PO BOX 800, Templestowe, Victoria, Australia 3106 Ph: + 61 3 9890 0815 Fax: + 61 3 9890 0087 Email: info@elitepublishing.com.au Website: www.tiletodaymagazine.com.au www.elitepublishing.com.au
Worldwide Tile Depot opened its latest branch in Davao City, Philippines. Image credit: Sun Star.
Worldwide Tile Depot has been established for 40 years and has established a reputation for products that are qualitymade, dependable and affordable. Ngo explains, “We continue to be as reliable as we can, we offer value to the client. Good quality and affordable, that is how we position our brand, stylish yet affordable”. Yang also said the company is importing tiles and other finishing materials from Spain, China, Vietnam and Indonesia. “Aside from our in-house brand, Galleria Ceramica, we also distribute products of American Standard, Royal Tern, Mariwasa, ABC, SCG Smartboard, Boral, Novtec and APO,” she said. Ngo added that as the building industry continues to evolve, the company is updating its line of products regularly to keep abreast and relevant with the fastchanging industry landscape. “In terms of expansion, we will first focus here in Davao and we’ll see if where we can go next,” she said. ■
finishes& SURFACES
PUBLISHER Vicky Cammiade vicky.cammiade@elitepublishing.com.au EDITOR Betty Tanddo betty.tanddo@elitepublishing.com.au CONTRIBUTING EDITOR Anthony Stock anthony.stock@elitepublishing.com.au MACHINERY EDITOR Philip Ashley philipneilashley@yahoo.com.au INTERNATIONAL CORRESPONDENT Joe Simpson joe.simpson@elitepublishing.com.au NATIONAL SALES & MARKETING MANAGER Ashley Cooper ashley.cooper@elitepublishing.com.au CIRCULATION MANAGER Georgia Gilmour georgia.gilmour@elitepublishing.com.au GRAPHIC DESIGN Uber Creative – Annette Epifanidis Mobile: 0416 087 412 annette@ubercreative.com.au www.ubercreative.com.au PRODUCTION For artwork and production enquiries please email: production@elitepublishing.com.au INFOTILE WEBSITE COORDINATOR Stephanie Thompson 0407 873 370 stephanie@grafixaction.com.au PRE-PRESS Prominent Digital PRINTED BY Prominent Press Pty Ltd ELITE PUBLISHING CO PTY LTD PUBLISHERS OF: Flooring Magazine, Discovering Stone Magazine, Surfaces & Finishes Magazine, TileToday Magazine, Supplier Magazine and FB Magazine.
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