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TILE TODAY TRENDS 8
The vibrant Spanish tile industry is on show at Cevisama. This is the event where manufacturers are not afraid to take an artful risk. Beaumont Tiles also provide their view of the event.
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Revestir in Brazil displayed high quality, fullbodied porcelain tiles along with their alternatives.
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Ceramic interpretations of concrete tile offer unique flexibility.
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Porcelain tiles continue to be mass produced globally in practically every format and thickness.
PROJECT SPOTLIGHT 20
An apartment in Lithuania showcases a single, ceramic-clad wall that splits the home in two zones: warm and cool.
TECHNICAL 24
Many of the changes related to allied products have been driven by the size and weight of tiles.
INSTALLATION 26
Fred Gray from Laticrete Australia outlines of some of the major considerations when installing tiles in concrete pools.
REGULAR DEPARTMENTS 32
Featured Products
46
Industry News
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In this edition of Tile Today, I am reminded of Australia’s place in the global tile industry. The local market remains a sophisticated one for making, distributing and selling tile products. The latest issue features reviews of major international events, Cevisama and Revestir. This year’s Cevisama in Valencia, Spain was attended by a higher than usual number of visitors from Australia including Beaumont Tiles strategic designer Rachel Gilding.
Vicky Cammiade Publisher
Brazil-based Revestir is considered the fashion week of architecture and construction. In 2017, natural elements and technological materials were highlighted in large formats, and neutral colours remain popular amongst the more dramatic tile variations. In Lithuania, an apartment makes use of tiles in a genuinely inventive and newfangled way.
Betty Tanddo Editor
We also explore the cement and porcelain tile categories in this issue. The developments in allied tools are highlighted and there is a step-by-step guide on how to install tiles in concrete pools. At Amber Tiles, two of its staff recently celebrated their 30th anniversary with the company. A brief story but one that has bigger implications because it reflects the success that an Australian tile company has, due in large part, to its staff. People play a crucial role in how long a business can last. Amber Tiles is probably just one of many tile companies operating in Australia that work hard to put their people first.
Ashley Cooper Group National Sales & Marketing Manager
Until next time,
Anthony Stock Contributing Editor
Betty Tanddo Editor, Tile Today Magazine
FRONT COVER IMAGE Frame by Brazil’s Incepa uses 3D rectangular elements to draw out the neutral colours and create a sophisticated urban style. The satin finish, 300 by 902mm tiles are available in a choice of restrained hues such as Snow and Nude.
Joe Simpson International Correspondent
Philip Ashley Machinery Editor
6 | TILE TODAY #92 | www.tiletodaymagazine.com.au
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T RENDS
Daring to be different International correspondent, Joe Simpson visited Cevisama and pays homage to the Spanish tile manufacturers that are pushing the aesthetic boundaries.
T
he Spanish tile industry comes together once a year in Valencia, Spain to share alluring and inventive designs in the world of ceramics. A vibrant heritage and a spirit of innovation, combined with a commitment to quality and sustainability, means there is always much to celebrate. This year, the dominant colour was grey: from soft off-white grey tones through to dramatic anthracite and black. This was realised by classic Italian marbles, through 3D structured wall tiles, to more industrial looks influenced by concrete and plaster. Soft matte and satin glazes, subtle surface texture and simple geometric decors were the order of the day. Pamesa, one of the Spanish companies that has prospered through the past decade of economic turbulence, proved once again it has its finger on the design pulse
8 | TILE TODAY #92 | www.tiletodaymagazine.com.au
along with an astute commercial approach. The Pamesa stand featured highly sellable co-ordinated ranges that work well together. These are produced in a choice of mid-size formats with great customer appeal; the achieved aim being to provide on-trend looks at affordable prices. It is little wonder then that Pamesa has become a valued supplier to many distributors and multi-site tile retailers across the globe. Only a few manufacturers, notably Peronda, Vives and STN, really stood out from the crowd. Here, designer-led concepts, terrazzo, trencadis, handmade small formats and bolder colour palettes showed the way forward. Walking the halls, a number of key themes and fresh design directions emerged.
Triangles galore The language of geometry has a timeless beauty, and the simplicity of the triangle allows for striking effects,
whether used as a detail or to build a dramatic pattern. Tiles and triangles are a match made in design heaven and Spanish firms are finding ways to make the most of this durable and versatile shape.
Playful pastels The soft elegance of pastel shades has a perennial appeal, creating a calm yet uplifting ambience when applied to interior design. Advances in tile technology mean that any colour or texture is possible and several local tile makers have embraced a more playful tone for their collections.
Tunnel vision Combining optical illusion with 3D textures, the visual motif of the tunnel shape is a recurring theme in some recent tile designs. Drawing in the eye, this effect appears on a number of options for wall tiles, and allows for either subtle accents or pure visual drama.
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T RENDS
A touch of terrazzo
Flora and fauna
A classic look in Mediterranean flooring, the terrazzo effect conjures up a sense of relaxed style while being an eminently practical choice. Now, however, the latest terrazzo comes with a twist ... discreet shapes, metallic outlines and unusual colour choices have been added to the mix.
Nature figures strongly in the latest ceramics, with an exotic interplay of birds, flowers, plants and wildlife; all in a riot of colour. When a strong design impact is desired, these patterns can play a starring role, whether used in full mural form or as a highlight effect.
Sketch book beauty
Collection highlights
The hand-drawn impression is a key theme in several Spanish tile collections, with a sense of the artisan’s own personality sketched into a durable design. Chalk, pencil and paintbrush are at work for large scale projects or as a feature section.
Aparici delivers encaustic tile style with the Bondi range. This porcelain collection is smoother but has a high anti-slip rating due to a new technique developed by the company. Alternatively, sensations created by texture are the basis of Aparici’s Markham Wall range. It is an elegant pure white, 450 by 1200mm wall tile in satin and gloss finishes. The warmth of the desert and the softness of limestone inspired Dune’s Arena line, for those seeking a neutral base beyond the plain white tile. A slightly textured surface makes Arena suitable for minimalist environments. The look varies with the decoration selected: from the rich Alquimia or Delicious to the more sober-looking Exa or 3D options. Exa offers a combination of white hexagons. This white tone-on-tone arte is where matte and gloss surfaces play with light. In Exa Deluxe, each hexagon is a little gem with a different background as each piece is made by melting glass into a stone mould: an exquisite decorative option.
Retro chic Interlocking curving shapes and mid-century patterns and palettes have been given a modern edge. Several suppliers are offering a touch of nostalgia. In flat or relief, matte or glazed, neutral or colourful, these tiles come with the quality associated with Spanish brands.
Line dancing Whether as the subtlest suggestion, or more visible linear ridges, a number of tile collections embrace a motif of fine lines. Running closely parallel or criss-crossing at angles, this textured effect can add fascination to otherwise neutral schemes. It also works well over a large expanse of wall.
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TOP: Crema is one of the colours offered in Vives’ Dolce Vita range. It is also available in Humo, Cemento and Grafito. ABOVE: A concept from Cas Ceramics. BELOW: Tiles from Spanish tile manufacturer, Pamesa (left) and sensations created by texture are the basis of Aparici’s Markham Wall range (right).
T RENDS
TOP: Agadir Silver from Dune (left) is ideal as a feature wall tile; the smooth glossy glass surface features a pattern of streaks. With a London retro vibe, Dune’s Underground (right) is a 2-tile set that provides a modern vintage or city artistic styling. LEFT: Grespania’s Gea series is an adaptable line that mixes architecture and the avantgarde Cemento and Grafito.
Following the success of Dune’s first Shapes range, based on the straight lines and folds of origami, the company has introduced its latest forms for 2017. This time they are organic and curved. Once again, Dune has turned to Asia for inspiration, simple in appearance, but with endless pattern possibilities. USA-based designer Michael Golden has collaborated with Dune to produce Aquarius, a fresh take on a retro look that captures feeling of 1960s without being a literal copy of the past. Reflective surfaces of circular forms are mixed with glass 12 | TILE TODAY #92 | www.tiletodaymagazine.com.au
and stone to form a looking random grid, that is both contemporary and late mid-century modern. Classic marble looks are still setting trends. Charming and with delicate veins running through the pieces, the Altai range from Grespania is ideal for giving homes a hint of modernity. The collection, in polished and natural finishes, is available in 590 by 590mm and 280 by 590mm rectified and 600 by 600mm and 300 by 600mm formats. Bright and warm, Altai features discreet hues: from white to grey, through to ivory and beige. This is a
product with countless applications in interior design adorned by two geometric reliefs in the 300 by 600mm format: Gobi and Sayannes. Grespania’s Avalon range has urban-themed colours enhanced by the patina typical of cement surfaces exposed to the passage of time. This, along with the number of available formats, create public and private spaces that have metropolitan chic. The Avalon collection also has a 603 by 603mm format with a thickness of 20mm. This offers greater tensile strength than traditional porcelain, making it suitable for high traffic areas and outdoor locations. On-trend cottos, earthenware tiles, cement and moulded pieces come together to create Grespania’s Gea series, an adaptable line that mixes architecture and the avant-garde, to create urban environments as well as rustic, natural spaces. The Gea range comes in three large formats: 1200 by 600mm, 800 by 800mm and 600 by 600mm. Its colours – white, pearl, cement, taupe and anthracite – and soft spatulaeffect relief surface, lends the tiles a refined gloss/matt effect. Grespania has also expanded this collection to include 20mm thick tiles in two formats: 600 by 600mm and 750 by 750mm.
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T RENDS
RIGHT: Keraben’s Autumn Titanium floor tile conveys a season where the world changes its colour and shades. BELOW: (Top) The latest terrazzo comes in discreet shapes, metallic outlines and unusual colour choices. (Middle) Saloni’s Diamant range in beige is applied to a bathroom. (Bottom) Vives’ Dolce Vita line was one of the most impressive collections at Cevisama.
The industrial look is still popular where iron, steel and cement are indispensable. After the success of the Vulcano range, Grespania has extended the collection with a 315 by 1,000mm rectified wall tile. This comes in corten, iron and silver metallic colours, plus a new white tone. It includes decorative pieces that enhance the industrial aesthetic: corrugated and perforated metal sheets with relief pieces Santa Justa and Milenio, and the Golden Gate which replicates overlapping metal sheets with rivets. Ibero Porcelanico’s Habita design is a 280 by 940mm wood-look porcelain tile that offers the appeal of recovered wood. This collection has four tonalities within two colour palettes to recreate both warm and cool hues. The range is versatile with many graphic options and a sense of motion and shading. One of the stand-out designs at Cevisama was Inalco’s Slimmker range called Fluorite: one of the most impressive additions to the uberfashionable terrazzo look. Inalco has renewed this timeless surface with a large-format porcelain tile range created by a young designer, Katty Shiebeck. Fluorite revamps this design with mineral shades of the season, such as mauve and green, together with other familiar tones, such as blanco, piedra and crema. Negro has been added to the chromatic range of this collection, and is available in natural and bushhammered finishes. 14 | TILE TODAY #92 | www.tiletodaymagazine.com.au
Keraben delivered a number of collections that stand out for their innovative looks. Remake is inspired by vintage cement tiles, brought forward into the 21st century to add warmth to settings. It is available in five shades: white, cream, grey, mink and multicoloured. This range also has an artistic patterned finish. Mixit is inspired by a combination of three kinds of stone, to spark off contrasting effects. Frame is about the texture of a canvas. Keraben’s Metropol, a brand that takes an avant-garde approach to tile design, launched the Inspired collection. It has a stone-effect design conspicuous for its bold personality, with grainy textures and subtle relief patterns. Saloni’s Eternal range is based on two varieties of marble to create a contemporary, chromatic interpretation. Eternal has multiple relief options, and technical finishes for durability. Adding another element to the wood-effect trend, the Merbau collection by STN Ceramica is a multi-purpose floor and wall tile that should add personality to interiors with its worn look. Perhaps the single most impressive collection at Cevisama was Vives’ Dolce Vita. It offers a different take on today’s top decorative trends, with more than a nod to the enduring appeal of terrazzo, trencardis and stracciato. The colourful Brenta floor tile design rejuvenates the ceramic tradition in a 200 by 200mm format
T RENDS
TOP: The Arcana Moonlight range (left). Atenea Bubble decor by Hispania Ceramica (right). BELOW: Undefasa Caleidos brings an original and lively touch.
and matte finish. There are two versions: Brenta Multicolor with cheerful geometric patterns and Brenta Humo comes in more discreet grey tones. In patchwork style, Argileto Multicolor floor tile features pastel colours; while Argileto Blanco offers a more relaxed mood. Cestio Multicolor stands out for its aesthetic that mixes pastel colours, cement and marble fragments. Benaco porcelain tiles use the traditional 200 by 200mm format for encaustic-inspired designs in a matte finish. Benaco, Carole, Pigneto, and Tercello are four mono-colour decorated pieces with different classic designs. They are available in five colours. Heterogeneous and classic, the Farnese porcelain collection has a base tile with cement and stone tones. It is available in four colours: Humo, Cemento, Crema and Grafito in a matte finish. The Amalfi porcelain tile boasts marble in small fragments, and comes in two formats, 300 by 300mm, and a rectified version, in many colours. The series also has interesting decorative designs. Gadner, in Crema or Cemento colours, and Cavour in Cemento or Azul, both reinvent traditional graphics with a unique aesthetic. Mancini is a time-honoured design that works harmoniously with contemporary interiors. 16 | TILE TODAY #92 | www.tiletodaymagazine.com.au
Other options include two patchwork designs: Quirinale and Apulia. These add a joyful note with their light colours and intricate designs. The Portofino line is influenced by the 15th century Venetian technique of mixing small fragments of coloured marble and cement obtaining a “stracciato” effect. Available in three large formats (600 by 600mm, 800 by 800mm and 593 by 1193mm) it creates a feeling of spaciousness. This porcelain tile design is available in four different soft neutral tones: Humo, Crema, Cemento and Grafito. These sizes come in both matte and semi-polished rectified versions. The Cíes Wall tile series (320 by 990mm) offers a sense of visual continuity in a matte finish. Subtle graphics are available in neutral tones – Humo, Crema, Cemento and Grafito – to ensure intimate results. It is available in Beige, Mar, Rosa and Azul. Sica is a wall tile design with attractive relief effects, and is produced in eight colours: Hueso, Crema, Grafito, Cemento, Beige, Mar, Rosa and Azul. The Bardot wall tile (320 by 990mm) completes the series. This is
an unusual design featuring gold that exudes glamour in same colours as Sica. Inspired by marble, Lesolo-R Blanco has been designed to blend with the diverse aesthetics forming the Dolce Vita collection. Delicate grey veins are carried through walls in a matt finish and a soft texture. Smaller sizes are represented in the Vives collection with the Corso Wall tile range in 100 by 200mm. The gloss base tile provides effervescent hues: Hueso Caramelo, Gris, Turquesa, Burdeos, Antracita and Azul. In terms of the sheer number of tile collections on display, Peronda was the undoubted star of Cevisama. All four Peronda brands displayed novelty and supreme attention to detail. Building on its reputation for flair and precision, Peronda offered ranges that would have won best in class in their design category: terrazzo, mosaic, geometric, hydraulic, marble, 3D tiles, coloured and etched wall tiles, dramatic wood-effect floor tiles or masculine cement-effect tiles. Nearly every one of today’s hottest tile design trends was on display on Peronda’s stand. Argila Pasadena by Peronda is a throwback to the heyday of postwar tile making. This 75 by 300mm rectangular wall tile range combines a hand-crafted appearance with the glossiness typical of a glaze with a mother-of-pearl or aged effect. It comes in eight different patterns. Medina is a hand-crafted tile collection made in Morocco utilising clay firing processes reminiscent of the past. The appearance of each individually-made tile is unique thanks to the glossy glazes that showcase a high degree of shade variation.
T RENDS
A PERSPECTIVE FROM BEAUMONT TILES Beaumont Tiles strategic designer Rachel Gilding offers her views on Cevisama 2017. This year the fair had over 100,000sqm of space, more than 750 exhibitors and around 78,000 visitors. “At Beaumont Tiles, we pride ourselves on ensuring our stores are filled with designs on trend from all over the world. Cevisama is one of the trade fairs we attend to make sure we are offering Australians the best of what is available...,” said Gilding. She observed that tile size remains large with 600 x 600mm looking tiny in comparison to some of the larger sizes that measure 900 x 900mm, 1 x 1m and 1 x 3m. “Pushing the boundaries of imagination, we saw slabs used in unique ways to furnish an entire home. From bathroom vanities, wardrobe doors, ventilated facades right through to kitchen benchtops – even the kitchen sink,” said Gilding.
ABOVE: In terms of the number of tile collections on display, Peronda was the undoubted star of Cevisama. Dramatic woodeffect floor tiles from Peronda (top left) and Harmony from Peronda (right) offers products for surfaces of all kinds, from mosaics to a rich assortment of decorative products including natural. BELOW: Antracita is one of the hues from the Corso Wall tile range in the Vives collection.
While Peronda’s portfolio is respected for its originality, Harmony goes a step further. It offers products for surfaces of all kinds, from mosaics to a rich assortment of decorative products including natural. The company also makes a point of working with up-an-coming designers. Typical is Yonoh, a design 18 | TILE TODAY #92 | www.tiletodaymagazine.com.au
“We are only seeing the beginning of what this material is capable of.”
studio founded in Valencia, Spain in 2006 by Clara del Portillo and Alex Selma. These industrial designers work in the fields of product, graphic and interior design, with projects that stand out for their simplicity and functionality. Lins by Yonoh plays with light, using criss-cross lines to generate visual effects suitable for transforming wall surfaces into dynamic murals. Their appearance changes with the movement of light and the position of the viewer in relationship to the tiled space. Lins leverages the subtlety of lines and is balanced with the collection’s choice of neutral Mediterranean colours. Maison by Onset is Harmony’s latest vintage range, designed by furniture and interior design studio Francisco Segarra. It brings a sophisticated design appeal to industrial and retro looks. A porcelain tile range, it transforms aged-effect ceramic tiles into high-end design products. Sold by the square metre, its white field tiles have a care-worn charm. The field tiles can be combined with geometrically-patterned decors featuring the same white background and triangles, circles or squares. By mixing and matching the different shapes, inventive design effects can be achieved. ■
Advances in production allow for quicker and smoother transitioning from one design to the next, increasing efficiency while maintaining beauty, according to Gilding. “Cevisama showcased innovative finishes and applications including translucent tiles for backdrops and statement pieces,” she said. Natural tone timber, stone imitations and soft cements continue to be on trend, added Gilding. “Raw, earth, formation trends with a bit of nostalgia,” she explains. “Texture and new finishes are probably the key to stone designs. True imitations of terrazzo – a flooring material consisting of chips of marble or granite set in concrete and polished to give a smooth surface – were shown at the event.”
P ROJ E C T SP OTLIGH T
Apartment shows off versatility of ceramics A tiled wall is used to divide an apartment in Lithuania into two zones, each with its own distinctive atmosphere. By Joe Simpson.
L
ocated in Vilnius, Lithuania’s capital, Bazillion is a contemporary, compact apartment designed by locally based architects, YCL Studio. Measuring just 45sqm, it has been designed for short stays and is essentially one open space divided into two areas, with different characteristics. Separated by a ceramic-clad wall, one side of the apartment houses the kitchen and the living room, while the other contains the bedroom and
20 | TILE TODAY #92 | www.tiletodaymagazine.com.au
bathroom. The common area, fresher and lighter, has a white wooden floor, a white ceiling and white walls. On the other part, floor and walls are covered in tiles in three shades of an earthy reddish brown. The furniture of the apartment has been carefully selected by YCL Studio, to create a natural and neutral connection between the two parts of the house. YCL Studio drew a clear line between day and night in this piedà-terre for two, while simultaneously
blurring the conventional division between “wet” and “dry” parts of the dwelling. This apartment, is essentially one open space that is divided in two by a single, ceramic-clad wall. It was commissioned by a frequent traveller, who uses it for brief stays in the capital of Lithuania.
Use of tiles YCL’s designers made one clever adaptation to conquer and divide the space in the apartment: an oblique wall which splits the interior into two equal parts. One contains the living area and kitchen, the other the bedroom and bathroom. The former is cool and light, the latter warm and massive. The specified tiles are from Agrob Buchtal’s Goldline range. With its warm colours and fine gloss effects, Goldline creates an exclusive and comfortable ambience. The weatherresistant tiles also allow the design of harmonious transitions from indoor to outdoor areas.
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Subjected to a long firing process, Goldline tiles are densely sintered and fully vitrified to minimise water penetration. This makes the tile frostproof, and thus suitable for balconies or terraces as well as internal wall and floor applications. Goldline comes in six hues: golden ochre, golden sienna, golden brown, golden cream, golden grey and golden black. The available formats are 150mm by 150mm, 150mm by 300mm, 250mm by 250mm and 125mm by 250mm. The range is completed by nosing tiles, skirting pieces, stair tiles, edges, strip tiles, corners and decorative borders. At the Bazillion apartment, concrete ceiling has been painted to complement the warm hue of the terracotta-coloured tiles. The two contrasting parts of the interior are tied together by furniture in black, white and grey. The absence of any colour other than terracotta
22 | TILE TODAY #92 | www.tiletodaymagazine.com.au
has a powerful effect, giving the space the unusual impression of a partiallycoloured black-and-white movie. A comparable monochromatic colour strategy has been used by YCL Studio in several other projects such as the office for Vinted, a popular online marketplace for second hand products. The interior features black, white and grey furniture; where one area is grey, another green, another yellow and the entrance area purple. In the process of designing the apartment’s interior, the architects explored many possibilities to maximise the difference between the two zones, testing different contrasts in material and colour work. “We imagined that the day is bright, full of light, talks, friends, food, while the night time asks for a private, safe and cosy place, and is a bit dark and sleepy,” explains Aidas Barzda. “This opposition is articulated by drawing a sharp line.” Expressing these contrasting moods in a relatively confined space was the dominant design concept and drove every detailed decision on the project, with nothing allowed that diluted this concept. Barzda notes that for YCL Studio, and the client, it was important that the apartment should have a strong and unconventional character. The contrast selected – white wood versus terracotta-coloured ceramics – is not only striking in itself, but contains an intriguing twist. The conventional division in apartments is based on the presence, or absence, of running water. Usually the kitchen, bathroom and toilet are grouped together and often treated
as a unit. In this case, the material of choice for the “wet” part of a dwelling is not applied in the kitchen, while the bedroom is clad with ceramics. As Barzda sees it, there were several reasons to utilise these tiles: “We wanted to use a natural material which could fill the space and would suggest that it would be there permanently.” The terracotta hints at the red bricks used throughout the Old Town section of Vilnius where the apartment is based. Moreover, the designers believed that ceramics could evoke the calm atmosphere they were seeking. Most importantly, perhaps, for the critical success of this interior is how the tiles have been liberated from their common, limited role and have become a central feature of the apartment. In this way, the Bazillion apartment convincingly underlines the adaptability of ceramic tiles.
About YCL YCL Studio describes itself as an architectural collaborative “operating in the fields of architecture, interior, planning, urban space, landscape design and research projects”. The team position themselves as “part of the new generation of Lithuanian architects” and state: “We use our international experience to enrich and strengthen local architecture as well as to spread the word internationally.” The studio was founded in 2011 and is led by architects Tomas Umbrasas, Barzda, Tautvydas Vileikis and graphic designer Rokas Kontvainis. ■
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T EC H N ICAL
Tile trends set the pace of change Allied tiling products are often developed in response to changing industry trends. Many years ago, when I worked as a contracts manager for one of the largest tiling contractors in London, one of the fixers used strands of ultra-thin spaghetti as spacer pegs. He simply popped one end of the spaghetti in the joint and snapped it off, leaving enough protruding to allow him to extract the inserted piece before grouting commenced. The tile fixer had an excellent reputation and he used spaghetti spacers on a regular basis, explaining that it was cheaper than spacers and he could eat some of it if he was feeling peckish. He was adamant that other fixers used the same method. I never met one who did. At the time, the tiler was correct in his approach. Back then, suppliers of spacers suggested that the pegs should be pressed into the adhesive and grouted in. Today, local and international standards advise that only one arm of the spacer is positioned in the joints, permitting easy removal and subsequent re-use. Leaving spacers embedded in the tiling system actually reduced the ability of the installed tiles to respond to movement and as a result, failures occurred.
There are many situations where large-sized tiles have to be laid in a bed of adhesive that is applied with a big notch trowel. These trowels are designed to spread enough adhesive to support the weight of the tiles that are pressed into the raised ribs of adhesive, created by the trowel.
The humble spacer peg used to be fully embedded in the tile adhesive and grouted over until users recognised this practice led to tiling failures. (Image courtesy of B.A.T. Trims.)
In many ways, tile fixers use the same type of allied products and accessories as they did thirty years ago. Fixers still require a good pair of tile nippers to remove small pieces, while basic grout floats and squeegees are much the same. Most of the major changes related to allied products have been driven by the sheer size and weight of the products that are widely used. We still use 200 x 200mm and 300 x 300mm tiles, but 300 x 600mm and larger formats are very popular. As a result, tile cutters and wet-saws are produced in much larger sizes. Cutting wheels and diamond blades are designed to score and cut hard products such as glazed porcelain.
The large notched trowel is still a key element of a tile fixer’s tool bag. But these days, the notched trowel will often be 10mm or 12mm to spread enough adhesive on the substrate. (Image courtesy of B.A.T. Trims.)
To comply with the existing Australian Standard AS 3958, extra adhesive should be buttered on to the back of the tiles using the flat side of the trowel. This practice is designed to create a firm bond, which makes sufficient contact with the back of the tile. The increasing popularity of large format products called for the production of ceramic tile adhesives that do not slump easily when heavy tiles are placed into the adhesive bed.
The Tuscan Leveling System was produced to prevent heavy, large format tiles slumping and producing “lipping� tile edges. (Image courtesy of CDK Stone)
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Like tiling standards, the changes in tiling equipment and allied products are reactive to the introduction of new tile and stone products. For example, “lipping” is one of the problems that can occur when heavy tiles are bedded in adhesive. This can happen when tiles slump into the bed, creating a situation where one tile edge “lips” above another, producing an unsightly aesthetic and a potential trip hazard. This type of problem helped to the introduce the innovative Tuscan Leveling System that is designed to eliminate the possibility of lipping, whilst simultaneously reducing the possibility of warping. Tuscan products and other levelling systems can be used to easily install ceramic
tiles and natural stone, in thicknesses which vary from 3 mm to 13 mm. Creating a flat, level field of tiling is critical, given specifiers’ and consumers’ strong inclination for narrow grout joints. Tighter grout joints highlight any lipping which occurs. Levelling systems are easy to use and allow competent tradespeople to create a perfectly flat wall or floor tiling area. Theoretically, the basic tiling tools remain the same but they evolve in answer to industry trends. At times, genuinely innovative products emerge such as tile trim that created much interest in the 1980s. ■
Plastic trims were launched in the 1980s to provide smooth, safe and easy to clean edges, in preference to use of mitred tiles. (Image courtesy of B.A.T. Trims.).
By Anthony Stock.
finishes& SURFACES
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www.tiletodaymagazine.com.au | TILE TODAY #92 | 25
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Ceramic tile in pools, from start to finish Fred Gray provides a step-by-step guide on how to install ceramic tiles in swimming pools. I was once approached by a builder who wanted me to visit his site to discuss the ceramic tiling of his concrete pool shell. No problem, I said. But whilst on site, I realised he wanted to begin installing tile before the shell was two weeks old! This prompted a discussion about installing tiles in concrete pools – an outline of some of the major considerations when planning the installation follows.
The concrete shell There are two main types of concrete pool shells we generally deal with in Australia; Cast-in-place and Gunite or Shot-Crete. Applications for Cast-inplace are typically large commercial pools, elevated pools, or on-grade pools in areas with poor sub-soil conditions. Gunite or Shot-Crete tend to be on projects below grade, small residential or light commercial pools with good sub-soil conditions but may also be used over form-work. These two types of construction methods produce different concrete characteristics or conditions we should consider when planning the tile installation. In particular, drying shrinkage, drying and surface preparation requirements are some of these important characteristics and can vary depending on how the shell was built. For instance, the floated surface finish of a sprayed shell has a far better surface profile for a tiling 26 | TILE TODAY #92 | www.tiletodaymagazine.com.au
system than a smooth off form finish from a cast surface. The cast surface, will generally require mechanical preparation and profiling. Delayed drying shrinkage and its effects on tiling installations seems to be is prominent at the moment, especially for larger cast in concrete shells. Tight construction schedules, scale and varying mass of structure, site conditions that can delay shrinkage, and installation practices are some of the factors that need to be considered to gauge any deleterious effects of shrinkage on the tiling system down the track. Have the appropriate wait times for concrete curing, drying and shrinkage taken place? Have job site conditions like ground water conditions or wet weather caused delayed shrinkage? Is delayed shrinkage going to be a problem for your installation? The rate of required drying shrinkage depends on good concrete and installation practices, but is heavily influenced by the environment such as relative humidity, temperature and air circulation. Concrete subjected to dry conditions will, generally, have a greater drying shrinkage than if subjected to alternative wetting and drying. Lower temperatures generally produce a decrease in drying shrinkage because of higher humidity and slower evaporation. This can apply to all types of tile installation on concrete, not just pools.
For a good start on understanding this subject, the data sheet, Drying Shrinkage of Cement and Concrete by Cement Concrete & Aggregates of Australia is recommended. So ideally, at the beginning of the tile installation, the concrete should have been allowed to sufficiently shrink to an acceptable level, have dried to the specified level, and been prepared/profiled for the proposed tile installation system. This is important if you do not have other methods to mitigate the effects of delayed, drying shrinkage on the tiling system.
Surface preparation and cleaning Concrete pool shells are rarely smooth, free of contamination and defects, and level enough for bonding of waterproofing membrane and ceramic tile. Improper preparation and cleaning are a major cause of failure of waterproofing membranes and levelling renders and screeds in pools. Cast-in-place concrete walls present defects such as form release or curing agents, as well as honeycombing and laitance on the surface. Concrete pool shells are also subject to surface defects such as dusting, crazing and laitance from poor finishing, as well as significant ground-in construction contamination. Typical methods that can be used for preparing surfaces include: a. High-pressure water blasting – 5,000 – 8,000 (34–54MPa) to remove severe contamination by tasking off the top 3mm to 6mm of concrete and to expose aggregate for improved mechanical bond of standard Portland cement levelling screeds and renders. b. High-pressure water cleaning – 1,000psi (6.8MPa) to clean surface dirt and contamination or weakened surface layers (laitance) without aggregate exposure; use in conjunction with detergents and degreasers to remove dirt or light coatings of oil or other contamination. c. Shot blasting – effective for floors and walls (with hand held equipment); removes and collects debris in one step from top layer 1.5mm to 6mm with fine to coarse
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steel pellets. Use to remove existing coatings or concrete surface defects such as laitance. d. Grinding – variety of mechanical scarifying methods available; must ensure final cleaning of residue with high pressure water or air cleaning. e. Grit blasting – includes traditional sand blasting, which is effective but intrusive and hazardous. New methods incorporate water soluble, mechanically refined sodium carbonate grit media. f. Acid cleaning – this method is not recommended if other methods are available because inappropriate dilution and/or incorrect application methods (failure to saturate surfaces with water), and improper neutralising/rinsing of residue can deteriorate concrete surfaces. Unsuitable methods and dilutions can also cause post installation efflorescence from residual soluble chlorides. Residual chloride can inhibit bond, accelerate set of cement based mortars and adhesives, or cause chloride ion deterioration of steel reinforcing. g. Low-pressure water/scrubbing – ordinary garden hose washing with stiff bristle brush is satisfactory if concrete has no surface defects or oily, organic contamination. Any cleaning agents must be completely neutralised and rinsed.
Surface preparation should remove contamination, expose the aggregate and leave the surface ready for cleaning, before continuing with the installation
Dimensional correction This is necessary if the concrete cannot be designed and finished accurately to meet levelness or flatness tolerances for direct application of ceramic tile or stone using thin-set method. 28 | TILE TODAY #92 | www.tiletodaymagazine.com.au
Currently standard AS3958.1 nominates a maximum variation in plane of 5mm in 3m for thinbed ceramic tile installations unless the concrete surface is prepared in accordance with the adhesive manufacturer’s requirements. However, tolerances should be much tighter if large format tile or stone is being installed. This can be achieved with Latex Portland cement levelling render. Screeds are recommended for best adhesion and performance under thermal and moisture movement differential, and exposure to effects of water treatment.
Waterproofing and anti-fracture The installation of membranes in immersed applications must be performed in a manner that creates a continuous “waterproof tank effect” without voids/interruptions. Applying waterproofing membranes in limited areas (eg. solely at the water line or the internal side of a negative edge wall) is not recommended. Moisture content of the shell is also very important at this point and should be within the specified guidelines of the membrane being installed. The use of Moisture Shield products can mitigate many substrate moisture problems and speed up construction. Most of the membranes that are used in these installations are not suitable for those subject to negative hydrostatic pressure. But I have seen very few instances where negative hydrostatic pressure really exists. Badly built shells are often confused for hydrostatic pressure issue. Many glass mosaic manufacturers are now asking for membranes with anti-fracture capability under their tiles, something I have been promoting for a couple of decades now. Look for membranes that have both capabilities. There are many ways of applying a membrane in a pool system, however the directly undertile method of applying membranes over dimensionally corrected shells, protects underlying levelling renders/ screeds and concrete shell from saturation. It also prevents problems caused by moisture penetration such
as moisture expansion, chemical attack (chloride ion deterioration of reinforcing steel), and efflorescence. Ensure the tile adhesive is compatible with the membrane system. Test for water-tightness after application and required cure of the membrane when needed.
Ceramic tile selection Pre-mounted mosaics – the use of paper face mounted ceramic, stone and glass mosaics is recommended. And there are suitable back mounted mosaics. Exercise caution when considering back mounted sheets using PVC dot mounting or adhesive mounted mesh mosaic tile. The types and quality of mounting methods vary and resulting bond strengths may be very low after saturation and chemical attack of pool water. Check with the manufacturer of the selected tile to verify compatibility in immersed installations. Translucent or transparent tiles will generally need masking from the installation system for consistency in appearance. Use only impervious (<0.5% absorption rate) or vitreous (<3.0% absorption rate) tiles to reduce the effects of moisture expansion, or, in the case of exterior pools in cold climates, to eliminate freeze/thaw problems. Tiles with an absorption rate over 3% may permanently expand from moisture exposure. Latex fortified adhesives – use adhesives suitable for continuous water immersion. Latex mortars improve adhesion, reduce chemical attack by coating Portland cement, and offer flexibility to withstand moisture expansion and shrinkage. Epoxy adhesives are recommended to eliminate deterioration from chemical attack. Many epoxies suitable for interior and exterior use have flexibility and exceptional adhesive qualities to withstand differential movement from thermal and moisture expansion and drying shrinkage. Note: Not all C2S1 adhesives, are suitable for immersed installation. The combination of specific types of tile adhesives and anti-fracture membranes have better capability to absorb shrinkage and moisture movement.
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Set to light foot traffic: after 2 - 3 hours Ready for use: 24 hours Ready for levelling: after 4 hours Waiting time before installation: 3 - 4 hours for ceramic 3 - 4 hours for natural stone 24 hours for resilient and timber flooring Floating screed thickness range: 35 - 60mm Bonded screed thickness range: 10 - 40mm
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Set to light foot traffic: after 12 hours Ready for use: 4 days Ready for levelling: from 1 - 4 days Waiting time before installation: 24 hours for ceramic tiles 2 days for stone material 4 days for resilient and timber flooring Floating screed thickness range: 35 - 60mm Bonded screed thickness range: 10 - 40mm
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Grouting of ceramic tile Types of grout include epoxy, unique grouts that contain no Portland cement and are better able to handle the effects of water treatment. High performance, polymer fortified cementitious grout provides a durable, dense and hard grout that is ideal for immersed installations. Epoxy grouts are more chemical resistant and colour fast. Ensure tile fixing bedding is dry prior to grout installation. Remove all debris, adhesive, spacers and tile mounting that will inhibit prevent full and flush joints.
Epoxy grout would have been far more resistant to the chemicals that severely etched the cement grout in this installation. It was only a momentary lapse in water chemistry condition that caused it.
Movement/expansion joints Construction/cold joint – walls/floors typically are cast monolithically but large pools require multiple pours. Concrete will crack at these weak intersections and require movement joint with integral water stops. Control joint prevents random cracking by controlling drying and shrinkage in straight lines. Typically eliminated by additional reinforcing to control shrinkage and keep concrete from drying out before filling. Expansion joint accommodates thermal and moisture movement in large pools. For example, a 50m length pool can expand 10mm on average after filling, and requires aggregate joint width 3-4 times the anticipated movement or 30-40mm wide. In addition to any movement joints carried through from the underlying concrete shell to the tile surface, additional joints must be provided 30 | TILE TODAY #92 | www.tiletodaymagazine.com.au
to provide for long term moisture expansion, and shrinkage as the pool is emptied. Refer to AS3958.1 & 2 for further information on the construct, design and placement of movement joints. The project architect or engineer must specify movement joints and show location and other details on drawings and specifications. Whether a pool needs to be completely waterproof (prevents any leaks), or watertight (monolithic structure which contains water with minimal absorption and leakage), movement joints must be designed to prevent rapid loss of water. Sealants can provide primary closure of joints, but cannot guarantee 100% effectiveness as a barrier to water leakage. They must be suitable for water submersion and be installed with proper backer rod, primer (as required), and tooling by specialists. Flexible plastic or butyl rubber devices which are integrally cast in, or placed below movement joints in pools offer a flexible yet monolithic, watertight connection across movement joints. Water stops are critical secondary protection even when a waterproofing membrane is specified. Observe an average minimum cure time of 14 days at 21°C for latex fortified Portland cement grout installations to prevent latex migration, and 10 days at 21°C for epoxy grouts to reach maximum chemical resistance prior to filling pool. Opening, seasonal closing and pool idling for maintenance and repairs. Fill pool with water at a rate of 610mm per 24 hours to allow gradual exposure to water pressure, thermal and moisture differentials. Initial alkalinity of pool water is usually very high from exposure to Portland cement based finishes, mortars, adhesives and grouts, so careful and frequent balancing is required. Do not fill if potential thermal gradients exist (eg. very cold source water into an exterior pool which has been exposed to several days of solar radiation). Empty pool water at the rate of 610mm per 24 hours. The pool should be drained to a point below outlets and kept partially filled to minimise stress on the tile.
Effects of water treatment Swimming pool water chemistry is a very complex but essential component to its healthy operation. Chlorine is the most popular and effective disinfection agent for swimming pool water. Bromine, chlorine gas, ozone, salt, and other non-chemical disinfection systems are also available. A common misconception is that chlorine treatments are the cause of attack and deterioration of Portland cement based materials used to install tile in swimming pools. This is basically not true; any concentration of chlorine high enough to aggressively attack Portland cement based materials would cause pool occupants to become seriously ill. Concentrations of chlorine used in a pool should only be strong enough to eliminate bacteria and algae growth. Inappropriate chlorine levels (1.0 – 1.5 ppm normal level) will make the balance of water difficult. Chlorine uses and depletes calcium during the disinfection process; calcium balance is critical to prevent calcium depletion and deterioration of cement based materials (including grout). The balance of the pool water is primarily responsible for problems with maintenance of tiled swimming pools. Acidity, alkalinity and the amounts of mineral salts (water hardness) in swimming pool water must be kept in balance to prevent, among other things, contamination and deterioration of Portland cement plasters, mortars and grouts.
Trades I strongly recommend the use of installers and trades who have demonstrated their commitment to their craft and taken the time to stay current with the latest materials and methods. Requiring references and a portfolio along with a quote is a good way to ensure the installer has successfully completed work of similar size, scope, and complexity. Seek out those who are familiar with the specified installation system. ■ Fred Gray is the technical services manager at Laticrete Australia.
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ACT Australia has launched RedGard® SpeedCoat™. A rapid curing waterproofing membrane designed to provide installers with a ready-to-use, liquid-applied waterproofing membrane that cures quickly, consistently and effectively in extreme conditions. The advanced formula cures through exposure to ambient moisture, so it excels in cold and damp environments. One coat is required for walls and two coats for floors. A 3.8litre drum will cover up to 10m2 after two coats.
MAPEI 07 3276 5000 www.mapei.com.au
ACT AUSTRALIA 1300 794 321 www.actaus.com
Fabric look tile Starstile’s new Papyrus tile range replicates elegant fabrics in three colours and two sizes, for both walls and floors. A wide selection of cut mosaics completes the range, making it suitable for a large number of applications and projects. STARSTILE (FENICE INTERNATIONAL) www.starstile.it
More to Infinity Southern Cross Ceramics has added three new designs and four colourways to its Infinity range. Medina is a Moroccan style that adapts to just about any context. Think rustic curves with romantic charm when it comes to Prague. Malibu is a subdued 70s geometric pattern. It has also added more greys to the collection: Cloud, Haze, Flint and Sove. SOUTHERN CROSS CERAMICS (03) 9561 9911 www.scceramics.com
Making a mosaic statement With geometric and 3D look tiles currently on trend, the Diamond Mosaic range from Johnson Tiles can add definition and texture to any tiling project. Suitable for internal wall applications, including kitchens and bathrooms, it is available in White Gloss, White Satin, Black Gloss, Black Satin and Black/White Gloss Blend on a 266 x 305mm sheet. JOHNSON TILES 1800 JOHNSON www.johnsontiles.com.au
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F E AT U R ED P R ODUCTS
Serene surroundings Stone Cut reproduces the design of English stone with 15 variations and movement, within the same shade. Its stony finish allows Stone Cut to evoke a natural, balanced and noble effect on its environment. It is available in three finishes: Matte (R9), External (R11) and Lappato in 490 x 990mm. TRADE PORT INTERNATIONAL 02 9757 1822 www.tradeport.com.au
Adaptable alternative The Cubics range offers a low maintenance alternative to stone. This range is easy to clean and requires no sealing. An Italian porcelain tile suitable for both indoor and outdoor feature wall applications, it is available in two colourways – grey and multicolour. COLORTILE 1300 265 678 www.colortile.com.au
Fast and impermeable Bostik Primeseal Rapid is a one component rapid drying water based polyurethane, Class 3 waterproofing membrane system that meets the requirements of AS3740 by complying with AS/NZ 4858. It is specifically formulated for application on graded substrates that provide positive falls to drainage outlets. This waterproofing membrane is a 2-coat system, to be applied over primed “porous & non-porous” substrates. Overlaying tiling systems must comply with Guide to the Installation of Ceramic Tiles – AS 3958.1. BOSTIK AUSTRALIA 1800 BOSTIK www.bostik.com.au
Wet room designs Waterproof Shower Systems from wedi offer reliable, cost-efficient solutions for constructing 100% waterproof and mould proof showers. They are easy to install and open up a new world of design possibilities for showers, wet areas and baths. wedi blends design flexibility and robustness, as well as the benefits from market- leading manufacturing technologies from Germany. WEDI AUSTRALIA 1300 392 774 www.wedi.com.au
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Grout goes a step up Spectralock Pro Premium Grout* is a patented high performance epoxy grout which offers all the features of Spectralock Pro Grout – colour uniformity, durability and ease of installation – with enhanced performance. Designed for use on tile, glass tile and stone in both residential and commercial; interior and exterior floors and walls. Ideal for re-grouting and suitable for swimming pools, fountains and other wet area applications. *United States Invention Patent No.: 6881768 (and other Patents) LATICRETE AUSTRALIA 1800 331 012 www.laticrete.com.au
T RENDS
Drama, colour and sculptural coverings International correspondent, Joe Simpson, reports from Revestir, the annual tile and surfaces exhibition held in Sao Paulo, Brazil.
A
t Revestir 2017, the majority of products on display fell into one of two categories: glazed porcelain wall and floor tiles or glazed red-bodied wall tiles. Having chewed the fat with the limited (ie. small) number of Australian distributors at the show, the consensus was that little of the product on display at the show was suitable for such a sophisticated market. This was only partly due to product quality; although that was an issue on some stands. It was more down to the fact that the most advanced manufacturers, and here Iâ&#x20AC;&#x2122;m mainly talking about those from Italy, have done such a great job convincing specifiers, developers and design-conscious home owners that full-bodied porcelain tiles are the best tile products on the market. As a result, retailers and distributors are reluctant to purchase glazed porcelain alternatives â&#x20AC;&#x201C; far less red-bodied tiles â&#x20AC;&#x201C; for fear their customers see them as an inferior product. There is no doubt that in demanding high-traffic locations, full-body porcelain tiles with the
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ABOVE: Ceramica Atlas showcased the fruits of its investment in state-of-the-art digital printing technology. The highlight was small HD (high definition) surface formats that allow faithful reproduction of natural and synthetic materials, such as concrete, brick, wood, marble and stone. The Supreme REC collection has been enhanced with new 50 by 50mm colour options. Atlas offers more than 5,000 body/colour/finish options and has a customisation service.
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T RE N DS
Azuleja Royal White in 300 by 600mm, rectified, was one of a number of impressive wall tiles from Portobello in this format. Each tile is divided into four 150 by 150mm segments to present designs in metallic high relief on a background that simulates the classic whiteness of European porcelain.
ABOVE: Brick Studio has launched the latest generation of cladding bricks (left) with slightly rounded edges and natural colours. The Rustic and Vintage lines offer a highly naturalistic look. Rustic features three colours inspired by the faรงades of houses in Europe: Bristol, Manchester and Tuscany. Vintage references even older faรงades, with the first colour in the collection, Casablanca, inspired by the desert regions of Morocco. They share the same dimensions as the Classic line: 248 by 62 by 14mm. Landscape architect Alex Hanazaki has created the Aga collection for Eliane (right). Blending aesthetic rigour with production quality, Hanazaki has translated the perfection found in the raw forms of nature through seven restrained tones. Available in a 900 by 900mm format, the versatility of the collection allows porcelain tiles to be used in both indoor and outdoor spaces, and on both floors and walls. Frame by Incepa is a good example of the 3D wall tiles at Revestir. It uses 3D rectangular elements to draw out the neutral colours and create a sophisticated urban style. The satin finish, 300 by 902mm tiles are available in a choice of restrained colours, like snow and nude.
Incepa’s Duo Concrete range of porcelain tiles fuses nostalgia with concrete’s contemporary chic. The tiles, manufactured using digital HD printing, are available in a 900 by 900mm rectified format. The texture of machined concrete is the design’s starting point. The versatility that this product, along with the wide format of the tiles and the rectified edges, makes it ideal for a diverse range of industrial and commercial applications.
required slip resistance rating are the best products available. However, it is also true that in Australia and Europe, full-body porcelain tiles are often used in locations, such as the walls of a domestic kitchen, where this level of performance is simply not required. In many ways, porcelain tiles are less suited to these locations due to the problems posed when cutting the tiles or drilling to accommodate plumbing pipes, etc. On balance, I would have to agree with the distributor who was willing to buy Brazilian glazed mosaic tiles, full bodied porcelain and glazed white-body wall tiles at Revestir…but nothing else. And Revestir had plenty of offer; you just had to look carefully. At the top of the quality scale were those full-bodied porcelain tiles offered by Brazil’s world-class manufacturers,
like Eliane, Portinari and Portobello. In terms of aesthetics, finish, choice of both modular and ultra-large formats, body type, planarity and rectification, these collections bear comparison with Europe’s best. There were also some high-end glazed porcelain tile designs that offer everything bar porcelain’s strength, low water absorption and frost resistance. When it came to glazed redbody porcelain and glazed whitebody ceramic tiles, there was a wide disparity in terms of both quality and design. Some of the tiles on show did not pass the basic planarity test, being either cupped or bowed, so that lipping was much in evidence on many tiled display. Unlike at Cersaie, gloss glazes were prominent, with few of the matte and satin finishes found on today’s leading European wall tiles. LEFT: Using a production process and select raw materials, Cerâmica Atlas’ Atlastec collection, which was launched at Revestir, is available in 120 by 240, 300 by 300 and 400 by 400mm formats, in thicknesses from 8 to 12mm. The tiles have low water absorption, resistance to thermal shock, and are easy to clean and maintain. The surface has anti-slip properties, a refined finish and antibacterial qualities.
T RENDS
ABOVE: Brazilian tile maker, Elizabeth has invested heavily in a new production plant and design expertise
The show also featured a lot of glazed red-body wall tiles mainly intended for the domestic market and low-cost export sales to Latin America, Africa and the Caribbean. Revestir did have some absolutely stunning products on display. These included Portinari’s clever Connect concept through to Senhor das Pedras’s exquisite button-backed pillow-effect concrete tiles: one of the most beautiful surface finishes I have seen in a long time. One manufacturer to really catch the eye was Brazil’s Elizabeth who has invested heavily in a new production plant and design expertise. There was a great selection of bold 3D tiles at Revestir, alongside beautifully-decorated tiles in the traditional Portuguese Talavera style. Other notable products included small format wall tiles; ceramic, stone and composite mosaics; and Cobogó. (Read more about Cobogó in the box.)
Genuinely innovative ranges were on show. Portobello showed some wood-effect tiles as step treads with fully-finished sides and edges. There were also exterior floor tiles with a special cementitious composition on the Senhor das Pedras stand that are engineered to deliver fast surface heat dissipation, thus ensuring under-foot comfort on sunlit terraces and pool surrounds. Overall Revestir 2017 was a compact, varied and stimulating show that challenged my preconceptions of the ceramic tile sector. If Australian buyers can overcome the logistical difficulties posed by such a huge country, where the areas of tile production are separated by such vast distances that groupage is really not an option, Brazil offers value, variety and volume … and a certain Copacabana chic. ■
COBOGÓ Cobogó are screening tiles, normally around 40mm thick, that come in a variety of symmetric or asymmetric shapes within a square form. These pierced construction elements are used to construct screens or walls that allow the passage of air and light, while at the same time providing privacy and protection. They suit design features such as outdoor kitchens, or provide modesty screening for external swimming pools or sun terraces. They also work in open-plan interiors, either as a dado height dividing walls or as a floor-to-ceiling room dividers that create aural and visual communication between adjacent areas. The name is derived from the initial letters of the surnames of the three engineers who, at the beginning of the 20th century, jointly came up with the concept: Amadeu Oliveira Coimbra, Ernest August Boeckmann and Antônio de Góis. Initially, Cobogó were only made of cement. Now, due to their increasing popularity, they are being moulded in other materials, such as clay, glass and modern ceramic body.
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ABOVE: Portinari’s Connect collection won a Best in Show Award at Revestir 2017. It created much entertainment with the angle-cut tiles in this collection, which people could move around against a magnetic board to design different installations. A clever video (pictued top) was used to market the concept for Portinari’s Connect, which would make an arresting feature in any tile showroom.
T RENDS
The art of tile: concrete and cement Tile manufacturers are committed to creating new surface textures, and finding fresh ways to apply colour and design.
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onsumers and specifiers who pay a visit to their local tile outlet will be confronted by an enormous variety of ceramic tiles, which have been carefully designed to accurately imitate the appearance of the popular surface finishes. In particular, timber, every type of natural stone and more recently, concrete and cement. The increased focus on large format floor and wall tiles provides tilemakers with large canvasses (tile bodies) of which they can apply their designs. The fascination with imitating other popular surface finishes is based, to a large part, on the premise that consumers can have the appearance of timber or stone on a ceramic, usually porcelain tile body. This generally means that the ceramic replication will last longer than the material it seeks to imitate, while remaining easier to clean and preserve. Polished concrete is a popular surface finish but it is relatively expensive and in time, it will be more expensive to keep in good condition. Ceramic replications of other popular surface finishes are often marketed with the catchcry, â&#x20AC;&#x153;Looks like timber, performs like tileâ&#x20AC;?.
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Some specifiers, developers and home owners prefer to use the real thing but that often comes with a significant price tag, as good quality ceramic tiles are harder wearing and easier to clean than practically all of the surface finishes tile manufacturers choose to imitate. Given that manufacturers now have the technology to create and apply almost any image to the surface of a tile, it seems strange that they dedicate time to imitating a bland looking surface finish like concrete. However, minimalist trends remain strong and grey, in all of its shades, is still the most popular colour in many markets.
PICTURED ABOVE: Icon by Gruppo Ceramiche Gresmalt S.p.A. (Italy) is an interpretation of the concrete trend, supported by a broad range of sizes, colours and decorations. Icon is available in black, smoke, silver, beige and brown in sizes which range from 300 x 300mm to 800 x 800mm.
Flexible design Ceramic replications of concrete are widely available in a plethora of formats and surface finishes, which permit designers to easily combine smooth and textured tiles to create an attractive and slip-resistive aesthetic. In fact, ceramic tiles that pass for concrete can be combined with tiles that resemble other surfaces. There are few, if any, limitations.
Tr3nd by Ergon Emil Ceramica S.r.l. (Italy) is designed to capture a combination of concrete, wood and majolica, to present a subtle mix of some of the surface finishes present in the built environment.
A growing number of manufacturers produce floor tiles that combine timber, concrete and natural stone effects on the surface of a single tile. Subtle application of these products can produce an attractive, eye-catching surface finish that some manufacturers describe as â&#x20AC;&#x153;metropolitanâ&#x20AC;? because it encapsulates those prime surface finishes we encounter as we go about our daily business. Cement tiles, also known as encaustic cement are another relatively new design, that simulate products that have been popular in the past. These products are mainly manufactured in smaller formats such as 200 x 200mm. Typically, tiles are decorated with floral or geometric motifs which are laid in panels that comprise four tiles. In many
instances, a variety of patterns are employed to create a bold design. Tiles can be laid altogether or as a feature inset into a field of complementary plain tiles fixed to walls or floors. Authentic cement tiles were introduced in the 19th century. Traditionally they are made from a mixture of cement, sand and various mineral powders and pigments. The Victorians confused cement tile with encaustic ceramic tiles. The confusion continues to this day. Many glazed ceramic tiles faithfully imitate encaustic designs. These products are often identified as cement tile or encaustic cement when they are in fact, regular ceramic tiles manufactured to precise dimensions, featuring colours and designs using advanced decoration technologies. The Oslo Denim design drawn from Southern Cross Ceramics Artisan collection is a prime example.
Key benefits If end-users want real concrete in a tile form, it is usually manufactured as a concrete paver in thicknesses which range from 30mm to 80mm. These products are considerably heavier than regular 9mm porcelain tiles, yet they are no more durable. LEFT: The cement tile look, or encaustic cement, is captured by Southern Cross Ceramics in its Artisan collection. The company is working on a revival of this popular range.
The laying process will be more labour intensive and general maintenance will be more challenging. International Life Cycle Analysis (LCA) studies regularly confirm that ceramic tile, in its various forms and guises, is the most durable, easy to maintain hard surface finish. While some specifiers admire the seamless appearance of a polished concrete floor, there are distinct advantages associated when using ceramic replications of concrete. In terms of cost, polished concrete can cost upwards of $100 per square metre, but the ceramic equivalent can cost less for tiles, labour and materials. While laying ceramic tile is more labour intensive, laying concrete takes longer and can be messy. Tile is the easiest hard surface finish to maintain. By contrast, concrete requires regular sealing to protect against discolouration and staining. It is also a more difficult surface to care for in terms of dayto-day maintenance. Finally, a polished concrete slab of 100mm thickness is heavy, by comparison with installed ceramic tiles. In effect, ceramic imitations of concrete are more practical than the material they effectively mimic. â&#x2013; By Anthony Stock.
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The popularity of porcelain Porcelain remains a widely used form of ceramic tile in glazed, matte or textured finishes.
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he Australian Tile Council’s guide to Tiles and Tiling to be published later this year includes the following description of ceramic tiles: There are a wide variety of types of tile which can be described as ceramic by virtue of the raw materials and the production processes which are employed to manufacture them. • Tiles are generally glazed or unglazed • Compact body or porous body • Dust pressed or extruded For example, terracotta, probably the oldest ceramic material is usually quite porous. Porcelain on the other hand is a compact, dense material, which typically boasts absorption levels that are below 0.5 per cent, in accordance with ISO Classification B1a. In other words, these porcelain tiles are to all intents and purposes impervious, which means they are remarkably robust and easy to clean and maintain. They are available in a variety of surface finishes. Natural/unglazed: The visible surface finish permeates through the entire body of the tile. These durable products are frequently specified in commercial and private locations where a hard wearing, slipresistive surface finish is required.
ABOVE: The featured floor highlights use of panels of 7mm thickness porcelain in a giant 3200 x 1600 mm format. (Image courtesy of Flaviker, Italy).
The unglazed surface can be matte or textured. Polished: Many manufacturers mechanically polish the surface of unglazed porcelain to provide a marble-like look, still popular in the Australian market. The polishing process can create micropores in the surface of the tile which may allow liquid spills, grime and other contaminants to accumulate on the surface. To avoid this, leading tile retailers suggest that some polished products should be sealed to guard against a build-up of grime and liquid impregnation. To check the porosity of a particular product, small samples of potential contaminants like red wine, lemon juice, ink, etc. can be deposited on the surface of a tile, using an eye dropper. If the surface can be effectively wiped clean after 20 minutes, sealing is not required. In Australia, the most popular ceramic surface finish is glazed porcelain, a product that combines a hard, impervious porcelain body, with an applied glaze. When laid correctly on a well prepared vertical (wall) or horizontal
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Applications Hard wearing porcelain can be applied to almost any vertical or horizontal surface. The growing availability of slim porcelain tiles and panels provides opportunities for use of these avant-garde materials in several exciting ways. Tile on tile, where the existing wall and floor tiles are clean and tolerances permit, the addition of a new layer of slim tile and adhesive saves time and the expense associated with removing existing tiles and reinstating smooth, flat surfaces. There is also a significant reduction in mess. Adhering slim (12 mm) panels/ slabs to kitchen bench tops, vanities and splashbacks means these materials are considerably lighter and easier to handle. Architects are beginning to realise the possibilities that exist for use of mechanically fixed slim tiles and panels on building facades and interior walls. These lightweight materials are much easier to cut, handle and manoeuvre. Slim porcelain panels can be effectively combined with aluminium panels, transparent or multi-coloured glaze, and even timber slats. The availability of porcelain in various thicknesses allows the creation of a cladding with various degrees of thermal inertia, which plays an important role in a building’s climate control program. ■
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In terms of format (size) there are very few limitations. Porcelain tiles are mass produced globally in practically every imaginable format and thickness. Giant panels/slabs are produced in thicknesses ranging from 3mm to 7mm for use on walls and floors and approximately 12mm for bench tops. The large slim panels are manufactured in 3000 x 1500mm and larger units, which can be cut to specific sub-formats. In terms of colour and design, the continued development of digital ink-jet printing technologies enables manufacturers to render any digital image on to the surface of tile or panel. This provides manufacturers with the potential to produce custom designs for architects, designers or consumers. Unique digital designs can be applied to the surface of practically any porcelain product, including slim and conventional thicknesses. Slim porcelain products are increasingly available in all standard formats ranging from 300 x 300mm to 600 x 600mm and larger. In fact, 300 x 600mm glazed porcelain remains a popular wall tile format form local renovators. Matte, polished and glazed finishes can be applied in almost any colourway for both interior and exterior projects. A product can found in the same colour, and size or in a contrasting larger format. Continued advances in glaze and surface technology enable tilemakers to create a variety of textural effects. Combining matt and glazed surface finishes can create a compelling look.
ABOVE: Advances in glaze technology and application encouraged tilemakers to produce replications of other hard surface finishes like the imitation of old timbers by Antiche Fornaci D’Agostino, Italy.
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Staff longevity at Amber Tiles Two Amber Tiles team members, Linda Collins and Pauline Jones, recently celebrated 30 years of working for the tile, paver and stone retailer. In 1987, Linda was the first saleswoman to work at Amber, beginning in Blacktown (NSW) before moving to Penrith (NSW) and then going into a shipping and office management position at the company’s warehouse. She has now held her operations role at Amber Seaforth for the past 17 years. Pauline Jones immigrated to Australia from the UK as a £10 Pom in 1971 and began tidying the company books in the Amber Seaforth store in 1987. The then manager, Mike Barden, asked her to stay on, and she has spent the last 30 years looking after Ambers accounting and wages. Amber’s retail and franchise manager Greg Lynch congratulated the pair on their 30th work anniversary. He said, “They are both fantastic employees and wonderful people, and it has been such a pleasure to have them involved with us all at Amber for such a long time. Longevity of employment such as theirs is very rare these days, and it is a great credit to both of them to have shown such loyalty for so long. I look forward to having them on the team for many years to come.”
PUBLISHER Vicky Cammiade vicky.cammiade@elitepublishing.com.au EDITOR Betty Tanddo betty.tanddo@elitepublishing.com.au
Linda Collins (left) and Pauline Jones have both been at Amber Tiles for 30 years.
CONTRIBUTING EDITOR Anthony Stock anthony.stock@elitepublishing.com.au INTERNATIONAL CORRESPONDENT Joe Simpson joe.simpson@elitepublishing.com.au
Portuguese delight Named after the Serra da Sintra region of Portugal, Sintra Stone transmits ancient beauty in its soft veining and natural design. An Italian made tile exclusive to Beaumont Tiles, it is an inkjet replication of natural stone. There are two sizes available in the Sintra Stone series and variations within each tile surface. The 300 x 600mm size has 64 different designs and the 86 x 26mm offers 448 different designs within this tile size. The colour range comes in black, grey and taupe.
MACHINERY EDITOR Philip Ashley philipneilashley@yahoo.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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The Sintra Stone series from Beaumont Tiles.
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