CERAMIC FUTURES from Poetry to Science Fiction
A project curated by Elio Caccavale and Stefano Mirti
Promoted by
Organized by
On the occasion of
Ceramic Futures: from Poetry to Science Fiction a project curated by Elio Caccavale and Stefano Mirti produced by Whoami, the design game with the precious contribution of Irene Bell, Lucia Giuliano, Alberto Iacovoni, Marco Lampugnani, Laura Negrini, Ko Sliggers
catalogue edited by Enrica Ponzo and Aurora Rapalino / IdLab www.ceramicfutures.com Š Edi.Cer. Spa, Sassuolo, 2013 Promoted by :
On the occasion of:
www.cersaie.it www.laceramicaitaliana.it
Organized by:
Ceramic Futures: from Poetry to Science Fiction a project curated by Elio Caccavale and Stefano Mirti
Intro
This book documents a selection of projects developed by the students for “Ceramic Futures: from Poetry to Science Fiction� (www.ceramicfutures.com), the first social project devoted entirely to ceramics. Ceramics come from a technology that has followed four hundred generations of human civilization: more than ten thousand years of history between cultures, countries and places all very diverse from each other. The project seeks to explore and challenge the versatility of ceramic both as a creative and functional medium – a material that is universal and unique, sustainable and enduring, whilst also being both one of the oldest. Ceramic Futures involves the participation of four design schools (Glasgow School of Art, Politecnico di Milano, Abadir Academy, Ied Roma). The students were asked to explore potential new directions that the world of ceramics may take in the near future based on four themes: Human Body, New Nature, Work and Food. Based on a brief written by Elio Caccavale and Stefano Mirti, the four groups of students had the opportunity to work adopting an interactive and collaborative approach based on the communication opportunities offered by social media.
The entire project is hosted on a dedicated web platform (www.ceramicfutures.com) that was kept constantly updated via Facebook, Twitter and Instagram accounts. The work combines traditional methods (the individuals or groups of students have worked in their own cities using conventional design techniques) with the digital technologies that are now ubiquitous in our daily lives. The Diary section of the website details the progress of the students’ work with the aim of sharing ideas and opinions and creating a database of individual projects. The use of social media has allowed for a further level of interaction in that the entire design process is open and visible from the outside, allowing anyone to connect up and make observations, post comments or submit questions. The entire process will be presented at Cersaie (Bologna, 23-27 September) with an exhibition of the students’ projects and research work. In August a ranking have been drawn up based on parameters (votes, comments, likes, interactions) used to map the participants’ profiles throughout the initiative and determine which of them are the Most Sociable, Most Appreciated, Most Charismatic and Most Productive. The two top students from each school in the Most Sociable and Most Appreciated categories have been invited to present their work at Cersaie 2013, while the Most Charismatic and Most Productive have been rewarded with a trip to leading Italian ceramic companies to make their first contacts with the world of work. Promoted by Cersaie and Ceramics of Italy, the most important international exhibition of ceramic tile and bathroom furnishings held in Bologna each year (www.cersaie.it). The project has the support of Confindustria Ceramica and is organised by Edi.Cer. Spa in cooperation with IdLab.
GLASGOW SCHOOL OF ART Founded in 1845, The Glasgow School of Art is internationally recognised as one of Europe’s foremost university-level institutions for creative education and research in fine art, design and architecture. The school fosters the conditions for creativity in order to promote critical thinking, experimentation, discovery and innovation. The distinctive pedagogy and research promote studio culture as the basis for creative communities, the meeting ground for diversity of opinion, independence of thought and learning from each other. POLITECNICO DI MILANO Politecnico di Milano is a scientific-technological university which trains engineers, architects and industrial designers. The University has always focused on the quality and innovation of its teaching and research developing a fruitful relationship with business and productive world by means of experimental research and technological transfer. ABADIR ACADEMY Abadir (Arts Between Architecture Design & Interdisciplinary Research) is a Fine Arts Academy located in Catania. The Abadir educational program is structured as an “educational plot”, a system in which traditional disciplines are connected to other disciplines and activities in order to create a dynamic laboratory school, competitive on national and international levels and able to deal with the changing and increasingly specialized requirements of today’s job system. IED ROMA IED is an International Network operating in the fields of education and research, in the disciplines of design, fashion, visual arts and communication. The Roman headquarters takes advantage of the area’s potentials to offer students from all over the world a meeting place for experimentation. A multicultural context permitting students to confront their own ideas to various types of artistic languages such as music, film, dance, photography, visual art.
Production processes in the industrial sector of ceramic tiles, as well as tableware and sanitaryware, have become increasingly complex, and today are able to produce ceramics with features and performances that were unconceivable until recently. Today ceramics have a new face, because they have a new content. This is why the Ceramic Future project was created: to help young minds to imagine new forms of contemporary ceramics, and project them into the future. This is what we have decided to do, involving students from four prestigious design schools, all physically distant, from the South to the North of the Italian peninsula and to the Glasgow Design School in the UK, linking students on an imaginary meridian that crosses Europe from North to South. And, as in the past when the princes of the duchies called artists and experts from different areas, we too, in this project developed entirely on the web and the social networks, have cultivated the ambition of creating a virtual yet international community, which by mixing ideas, based on territorial and cultural differences, can lead to the creation and communication of something new and perhaps totally unique. Vittorio Borelli - Chairman of ConďŹ ndustria Ceramica
Props for a non existing ceramic script The pendulum of Ceramic Futures has been swinging this way and that, since the start of the project. Sometimes arty; sometimes crafty; sometimes designy; sometimes fantastical. It is, of course, all these things at once. The teaching method and the work of the students seem effectively to have escaped from the conďŹ nes of the traditional way of design education. There are no solutions here, or even answers, but lots of questions, thoughts, ideas and possibilities, all expressed through the language of social medias, design and ceramic. Some of the projects are sometimes tentative and fragile, but through the rich experimentation we discover untold stories. You will see from the ideas presented inside this catalogue and the work displayed in the exhibition, the students have pushed themselves to discover props for a non existing script. Welcome to Ceramic Futures! Elio Caccavale and Stefano Mirti, August 2013
Table of contents
Human Body
New Nature
Work
Food
HUMAN BODY
SENSATIONS THROUGH TOUCH AND HUMAN BODY Gioele Antonello Politecnico di Milano
Due to its superficial qualities, ceramic is well-suited to sculptural and valuable objects. The main goal of the project is to create objects that are able to convey emotions: research and various experiments led to the result that touching objects with different parts of the body gives back different feelings. Intimacy, repugnance and amusement were identified through experiments as emotions elicited by the touch of a strangers’ body; these are related respectively to the ear lobe, the spinal column and the belly button. These parts of the human body were then
elaborated and shaped on everyday objects. The coin tray has to be caressed to collect its contents, the lid of the container can be opened only by introducing a finger in the central hole resembling a belly button while the cup can be grabbed by the ear. The colours of the objects were chosen according to different tones of the skin to exalt the beauty of the human body.
THE SKIN OF SOCIAL CERAMIC Luca Brucculeri Abadir Academy
My project concerns the transformation of ceramic from an aseptic, cold material to one which is “human� and warm, like human skin. In order to achieve this goal I designed a bowl in ceramic that has the texture of skin to imitate the intimate contact between person and material or, from a social point of view, between person and person. The human skin is an important point of contact with the external world and it sometimes has scars and another signs of the time or emotions (blushing or goose bumps). Skin can also convey cultural diversity or social aspects of a country through
its colour and tone. The story of the human body is thus transferred to the skin-like texture of a bowl. The idea of the project is not to apply various types of skin on ceramic surfaces, such as coatings and tiles, but aims to represent the tactile and visual emotions on objects.
THE HUMAN GRAIN: MICRO-SOMATIC TILES Steve Payne Glasgow School of Art
This project uses the human body, in particular sensory tissue, as a resource from which unique textures can be created and replicated in ceramic material. A process involving casting, mold making, digital photography, computer modelling and CNC milling is used to obtain the minute structures from the body. Through digital manipulation, the textures are abstracted and take on a less organic quality, while retaining their unique biological characteristics. Using this method, I have created a series of three textures derived from my own skin, eyes, and tongue.
The potential applications for these unusual forms could range from bio-mimicry, providing conservative structure for microbes, to generating bespoke textures for the domestic environment.
FROM DUST TO CERAMIC Alexandra Coutsoucos Politecnico di Milano
From Dust to Ceramics tells the story of a person’s life. A story narrated through drawings, shapes, patterns and dimensions. Life is translated in a system of tiles that respond to physical parameters and experience. Experiences define the shape and the dimension of the tiles and the system itself. Answering to a future that will develop around the media world, the principle that translates the past into substance is based on information in social networks. The story of the body is told by the translation of those signs that make our skin individual, such as moles and scars, which means every
tile will be different from the others. Scars are a flat, smooth sign on our body, almost a disturbing element: the tiles that represent them are inserted among others but are easily distinguished thanks to their lack of texture. Moles on the contrary are dark spots that stand out visibly and make each of us unique: tile vertexes are defined by the coordinates, and the width of the moles that cover our body.The story of generations will be told across a familiar wall shaped by people’s lives.
SAFE Giulio Rampoldi Ied Roma
My intention is to introduce a clothing style aimed not only at comfort but above all safety and security through an innovative use of this material. I have focused on ceramic’s property as an excellent electromagnetic insulator. Nowadays, radiations from mobile phones and other media devices are amongst the greatest threats to our health, which can lead to serious consequences in the future. Until today, ceramic has been mainly used for interior tiling, but the possibility of creating a flexible, elastic and easy to cut ceramic fibre is what inspired my project. My idea involves items
of clothing which incorporate parts made of textile-ceramic and work as a protective screen and insulator. Such parts include pockets and other accessories that allow media devices, which emit radioactive waves during the day, to be stored safely. The first item I propose are pants from the collection “SAFE in your jeans”, with front pockets which are protective and semi visible. I am also working on additional collections: “SAFE in your jacket”, “SAFE in your bag” and “SAFE in your hat”. The latter are the first collections from the “SAFE” brand.
SYNERGETIC TILING Zoë Prosser Glasgow School of Art
After starting this project by looking at the human body, my research expanded to the current and future applications of ceramics within the topic. It became apparent to me that ceramics were already playing a big part in recent medical developments and now being widely used to replace joints within the body. It was this that inspired me to take influence from the existing joints within the body and then mimic these, on a small scale, in ceramic material. Once I began experimenting, my work developed into a modular system of assembling tiles using cylindrical pivots.
Each tile has been embedded with a hollow brass tube and comes with a set of locking pins. This enables each tile to have motion in one plane only, which is all that’s needed for users to cooperate in order to create a new set of sculptural forms. The nature of the locking pins ensures that the creation of each structure is a two-player game and the whole sculpture can then be disassembled and recreated or altered. Inspired by Buckminster Fuller’s modular approach, this small variety of shaped tiles allows for the exploration of architectural structures based on triangles, pentagons and squares.
NEW NATURE
CERAMIC BEACH 2.0 Yulya Besplemennova Politecnico di Milano
Ceramic Beach is a concept which addresses the topic of New Nature. On one side it is based on understanding the seriousness of the changes to the environment caused by humankind and that now we can talk about manufacturing the landscapes. On the other, it deals with the problems of ceramic recycling and the fact that the recycling process turns objects back to dust while ceramics can be seen as a container of cultural values and meanings. In Ceramic Beach all the qualities of material are involved to produce the ultimate experience including its appearance, touch and sound. The production technology used accelerates the natural polishing
process of the sea. But unlike the sea, here both the process and the result can be controlled. An imaginary “customer” can define the parameters of the final product. He can decide whether it should create the mostly a tactile experience or sound, or look, or combination of all. The colours and sizes can then be changed for each particular landscape. Manufacturing processes can be performed on a different scale even nowadays, adopting technologies from such fields as rock crushing and gem stone processing. The final goal is to create an “Offshore Accelerator” situated right in the sea using its energy and in a way changing also the seascape.
OUR NATURE Kaitlyn DeBiasse Glasgow Schoof of Art
This series of ceramic interventions challenges the viewer to reassess their perception of three types of plants we have very socially prescribed relationships to. 1. Defiance. Some nature we perceive as being inferior. The miniature bottomless “flower pots” recontextualize the weed. They are about discovery, about looking at the ground again, about celebrating the underdog, or plant, in this case. 2. Bloom. What if we perceived mold as being beautiful? These tiles manipulate the growth of mold in the bathroom. Mold grows most
successfully in the grout between tiles. Thus, when mold flourishes on these tiles, it activates a design. 3. Decay. The desire to slow down or even stop time is universal. We cling to beauty and shun decay. The cut flower exemplifies this cycle. Once we cut its stem, the flower is sent on a trajectory towards a slow and certain death. This vase acknowledges this cycle of life and death. It holds flowers until the life dissipates from them. When the vase is empty, it can be turned over to display “flowers” unaffected by time.
MY IMAGINARY LANDSCAPE Laura Doardo Politecnico di Milano
I started this project by studying the system of ceramic production. Then, I translated the information I found into a morphologic landscape. First of all, I focused on the effects of ceramic production on the environment and I discovered that nature could also produce similar polluting effects. How might a landscape be that produces the same industrial effects, without human intervention? So the landscape started to be a natural landscape, that interact with the human marks. During my experiments, I began by simulating natural phenomena with clay, to see how the material could be modified
by such things as water, movements of compression, shock or shaking. Clay and porcelain thus started to be the medium of my imaginary landscape. The shape of results and the things they are combined with give us information about a landscape in which mankind will no longer exist in the distant future and show us other possibilities for combining these materials.
CYMATIC TABLEWARE Alice Gunn Glasgow School of Art
This project explores the ‘new nature’ of tableware through the study and use of cymatics and ceramics. By extending the role played by ceramics at the dining table, each archetypal object has been altered to incorporate the visual representation of its sound. The application of cymatics (the visualization of sound) varies from object to object; the knife’s serrations are a direct representation of its sound wave, whereas the spoon’s sound is incorporated as a scape sitting in the bowl - to be experienced by the user’s lips as a texture. Wine glasses clinking together define the entirety of the
form, and produce two objects, as is fitting to the nature of noise creation. These were all achieved using a sound visualizer and 3D computer modelling. Along with being a durable, hygienic, beautiful material, ceramics lie comfortably within the boundaries of 3D printing. The future of this concept is the ability to print in ceramic material, allowing the cymatics of the objects to be accurately produced, creating this new tactile and visual dining experience.
WATER GENERATOR Carla Motola Politecnico di Milano
The goal of the project is to obtain drinking water in particular for those populations who do not have water supplies like we do. The process involves several stages. The first stage consists in the gathering of water, which can occur in two ways: the collection of rainwater during the rainy seasons inside a basin, or the production of water from the vapour present in the atmosphere. This basin is defined as a “dew-pond�: it is made in terracotta and wet clay (on the bottom) which is impermeable and thus able to produce condensation and particles of steam during the
night. The tube leading from the basin consists of a ceramic filter with very small holes that serve to purify liquids from sand and dust. The second stage involves a container that collects water made of clay court that helps keep the environment inside moist in order to avoid the risk of evaporation. The third stage involves the process of pasteurization that takes place in a glass container. When exposed to solar radiation, water removes any residual bacteria (the temperature reaches 60°C within a few hours) and can be drunk and stored.
MOSAIC BAG Francesca Mazzuca Ied Roma
The idea behind “Mosaic Bags� comes from the desire to use ceramics in an unusual way and remove them from their traditional context. How can a bag be created with ceramic? I have personally never seen one, or rather, not made in this manner. The bags are in fact composed of sheets of very fine ceramic mosaic, joined together by strands of ceramic fibre. The first bags made entirely with ceramics! What reasons are there to buy these new ceramic bags? Well, they certainly last a lifetime! In addition, they will certainly need special care!
The material they are made of makes them easy to clean and, thanks to the distance between the small tiles, they will not get dirty easily!
WORK
i
j
k
l
m
n
o
r
s
t
u
v
w
d
e
f
g
based on ceramic
o create
obstruct and to nder the on. with the e mute
TALKINGq TILES Simone Bertini y Abadir Academy
z set 02
a
b
c
Inspired by the squared form of ts can be ceramic tiles, I created a typeface using with our the tiles as a movable type. A unique font with twoi weights to jgenerate and k encourage dialogues in public spaces. for The texts are intended to obstruct rground people in their daily life routine like q r subjects s and make them reflect on underlying continuous consumption. d into The fonts are carved into the tiles in rming two different ways forming a bas-relief mplates). y z (negative/positive templates). Talking tiles can be used in infrastructure for pedestrians such as
stairways, underground tunnels/ subways, pavements and public buildings such as town halls, hospitals and sol on. m n
t
u
v
o
w
CONTRA Lucalberto Bordignon Politecnico di Milano
In the future in which revolts are set to become more and more frequent, CONTRA aims to support protesters. It focuses in particular on defending rioters who try to protect themselves from being hit by truncheons, flying objects and rubber bullets with using unsophisticated, cheap materials. The project involves 3 stages: - Level 0: A downloadable PDF containing the instructions on how to assemble the armour and patches; - Level 1: ready-to-use protective patches to convert ordinary clothes into armours; - Level 2: armour which can be
purchased on the web or “black market�. The key material is the ceramic tile, because ceramic provides a high level of protection against knocks (ceramic is also used for bullet-proof vests). Felt is used as a structural backing for the ceramic tiles. Felt is a waterrepellent, scratch-proof material, and is also a 3D tissue: if wet by lemon juice or vinegar it protects against smoke bombs. Get ready to see this new equipment worn by rioters!
THE PARTS AND THE WHOLE Stefano Rossi Politecnico di Milano
“The parts and the whole” is a system design that consists of a travelling “community machine”. Distributed production, localization of IT services, and widespread mobile computing will lead to the disappearance of work as we know it. As a consequence, society will lose its identity and the social connections of which it is made. The machine has many possible variations: it can be a lathe, a street placard printer or an urban furniture maker, but the concept on which it is developed is the same: getting the Y parameters of the manufacturer and spreading them out into single
emplacements; so the machine will also have the X parameters split up, and each parameter is controlled by a single person. The final objective consists of 3 parts: - Making people aware that a single parameter could have very important consequences for the entire process; - Letting people interact in an analogical process; - Enhancing local identity, by producing objects which are useful for the community. The machine resembles a human algorithm that creates awareness.
FOOD
UTILE Jamie Fleming Glasgow School of Art
Initially my focus was on the acoustics of eating and how different textures and types of ceramics can alter the sound produced when interacting with cutlery and flatware. It was from the experimentation with various textured plates that I arrived at my final outcome. The plate experiments left an array of interesting shapes and textures that looked as if they could be used in food preparation, due to some similarities in existing utensils. This observation was the turning point in the design process, as it had now shifted from the pursuit of sound production to the initiative of
integrating kitchen utensils into the tiles themselves. The project, Utile looks at replacing conventional kitchen utensils by integrating their function into the ceramic tiles that are used to decorate the kitchen environment. By doing so, the fabric of the kitchen becomes both aesthetic and functional. The tiles themselves are designed in such a way that when not in use they still look abstract enough to be admired for their aesthetic quality without their function being overly obvious.
SENSE Hannah Barrett Glasgow School of Art
My project focuses on food, and exploring what place it has within modern-day ceramics. Through my development I found the natural textures in food to be so creative and dynamic against ceramic clay, they present newfound aesthetic patterns that maintain little reference to the original food source. In parallel, I also questioned whether scent can be imbedded into ceramics, and if the clay could maintain this scent throughout the firing process. If so, what could it be used for? What benefits could we gain from it? Sense is a series of six 400x250 mm
ceramic tiles, all with unique imprinted textures and corresponding scents, from various food sources. I envision these tiles being applied to various areas of the home, where they can be both heated and decorative. As flooring tiles heated from beneath, they would provide a unique aesthetic to the room, whilst also filling it with a sweetly scented aroma. I would also love to see these tiles used as radiator panels. Since they have a high visual impact, they would look great as a wall mounted ‘statement heater,’ whilst again providing the home with the ability to always smell welcoming.
FOLDABLE CERAMIC KITCHENWARE Andrea Signoretto Abadir Academy
I love origami, so I started to imagine possible solutions to fold the ceramics in easy ways. The solution I came up with is a kitchenware composed of little geometric ceramic shapes joined by silicon rubber. After several experiments, I developed a basic flat shape that can be folded to become a little basket, useful to move some hot food from the kitchen to the dining room, or to contain the food ready to be eaten. This object is just an example that explains the technique I developed. From now on, I will be able to design any kind of foldable kitchenware, such
as some dishes or containers; all these objects will be unfoldable and easy to store in the flat mode. The ceramic parts could be printed on a large scale, using traditional techniques, and then joined with silicon rubber, using a simple process. The cooking properties of the ceramics, combined with the flexibility of the silicon rubber, could be an occasion to reinvent traditional kitchenware.
ELIO CACCAVALE Elio Caccavale was born in 1975 in Naples, Italy. He studied Product Design at Glasgow School of Art before going on to the Royal College of Art to complete a Masters degree in Design Products. He is design studio leader on the MDes Design Innovation at the Glasgow School of Art. In addition, he holds a visiting professorship at the Polytechnic of Milan and an honorary professorship at Hubei University of Technology. Prior to joining Glasgow School of Art, he was the founder and director of the MSc in Product Design at the University of Dundee. Elio has held lecturing positions at the Royal College of Art, Staatliche Hochschule fur Gestaltung Karlsruhe, Central Saint Martins College of Art and Design, Architectural Association, Metropolitan University and research positions at Newcastle University in the Policy, Ethics and Life Sciences Research Centre, Reading University in the School of System Engineering (Cybernetics) and Imperial College in the Institute of Biomedical Engineering. He has contributed to research projects supported by Wellcome Trust, Art Council England and the Engineering and Physical Sciences Research Council. He is the co-author of Design as Future-Making published by Berg and Creative Encounters published by the Wellcome Trust, a book that explores the many opportunities and questions provided and prompted by collaborations between artists, designers, educators and scientists. His work has been exhibited extensively, including at the Museum of Modern Art in New York, the Design Museum (Triennale) in Milan, the Science Museum in London, the National Taiwan Museum of Fine Arts in Tapei, the Design and Applied Arts Museum in Lausanne, the Royal Institution in London and the Israel Museum in Jerusalem. His work is in the permanent collection of MoMA in New York and has been published by Phaidon, Thames & Hudson, Die Gestalten Verlag dgv, MIT Press and Centre Pompidou. Elio is the founder of Elio Caccavale Design Studio, a design studio working across a wide variety of projects, including product design, interaction design, and forecasting research. The studio has worked with a wide portfolio of clients including Mattel, Dmagic Mobile China, Orange, French Telecom, PBJ Japan and LG Electronics.
STEFANO MIRTI High School degree at Almira High School (WA, USA), university degree (architectural design) at Politecnico di Torino. Phd (Technology of Architecture) in the same university, post-doc degree at Tokyo University (School of Engineering, Architecture Department, prof. Tadao Ando). As a teacher he has been lecturer at Tama Fine Art University in Tokyo (1999/2000). Associate professor at Interaction Design Institute Ivrea (2001/2005). Director of NABA design school (BA) from 2007 to 2011. He has been visiting professor in some of the most important international schools (AA in London, IUAV in Venice, Politecnico in Milan, Chulalongkorn in Bangkok, etc.). From 2008 he is in charge for the design course at Università Bocconi, Milan (CLEACC). Since 2012 he is the responsible of the WHOAMI, the on-line learning platform of ABADIR, Catania. From summer 2013 he is in charge of “Design 101” MOOC at Iversity, Berlin. As a designer he is one of the founders of Cliostraat and partner of IdLab. He won three times (with Cliostraat) the important Europan prize for architecture (1995/1997/2001), he has been awarded the Bronze Medal of the Italian Republic for his merit in the field of culture (2004). Currently, he is in charge of the Biodiversity Pavilion for Milan Expo 2015 (together with Emilio Genovesi and prof. Stefano Bocchi) His work have been published in various international magazines and exhibited in some of the most important institutions in the world (Victoria and Albert Museum, Biennale di Venezia, Triennale di Milano, Architecture Biennale Beijing and others). As a curator he has been responsible for “The invasion of bodysnatchers” (for IDII, in Triennale di Milano, 2004, “Torino Geodesign”, 2008. As a writer we can mention (between the others): “Interaction Design Primer” (2006) e “Toyo Ito. Istruzioni per l’uso” (2003). He often writes for some of the most important international design magazines (Domus, Abitare, etc.).
Thanks to Serena Camere (Politecnico di Milano), Carolina Chini (Politecnico di Milano), Cristina Faedi (Confindustria Ceramica), Dr. Gordon Hush (Glasgow School of Art), PostmediaBooks, Elena Romani (Confindustria Ceramica), Maria Teresa Rubbiani (Confindustria Ceramica), the photography laboratory of Politecnico di Milano. We would like to thank the students from the four universities who participated to the project: Glasgow School of Art (Hanna Barrett, Santini Basra, Kaitlyn DeBiasse, Jamie Fleming, Alice Gunn, Josh Benjamin McDonald, Sean McHarg, Steve Payne, ZoĂŤ Prosser, Varut Rintanalert, Struan Wood ) Politecnico di Milano (Gioele Antonello, Yulya Besplemennova, Lucalberto Bordignon, Chiara Cicchianni, Alexandra Coutsoucos, Laura Doardo, Carla Motola, Stefano Rossi, Xia Zhou) Abadir Academy (Simone Bertini, Sarah Borinato, Luca Brucculeri, Selenia Di Bella, Sabrina Lo Nigro, Giuseppe Mendolia Calella, Emanuela Richichi, Andrea Signoretto, Clelia Valentino) Ied Roma (Mattia BonavolontĂ , Francesca Mazzuca, Giulio Rampoldi, Flaminia Rosa, Paola Sprovieri).
Printed by CANTELLI ROTOWEB srl - Castel Maggiore (Bo) Although, all rights are reserved, all part of this publication can be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior written permission of the publisher. Share, post, forward, tweet... ...as you like!
www.ceramicfutures.com
www.ceramicfutures.com