Good evening, good afternoon, welcome and thank you. I'd say let's begin since the academic quarter of an hour has passed. Welcome everyone from me, Silvia Bertani, and Franco who will greet you later. I'll be very brief. I thank Flamigna for this event and this opportunity to have an overview of the evolution of architecture in the bathroom world. Thanks to Giulio Cappellini, and I immediately pass the floor to Andrea Rinaldi for a small introduction. Then we'll leave you to this talk of about an hour or an hour and a half that will keep you company. Thank you.
Well, thanks everyone, welcome. I want to give a heartfelt thanks to Bertani, Silvia, Franco, and Rossella for organizing these very interesting events for architects. The relationship between Bertani and the order is strong, and I hope it continues. I had the fortune to study with Giovanni Klaus Kenig, who taught a history of design mixed with architecture. He told it from a designer's perspective, focusing on the essence of making things. I learned that what matters is not appearance but being in the making. Today, Giulio Cappellini embodies this approach, creating objects that make daily life simpler and more pleasant. I am very curious to hear what he will tell us. I directly introduce Giulio Cappellini.
Here we are. Well, good evening everyone and thank you for being here. I fully agree. I think our role is to create useful and beautiful objects, because no one wants useful but ugly objects. But as the great Achille Castiglioni said, especially to make people smile and dream. We are living in a time of great changes; the pandemic accelerated phenomena already in motion, affecting how we design, produce, and sell. The landscapes of living are changing completely, both in private spaces and high-traffic areas. Today, the key trend is freedom: the consumer's freedom to mix products from different designers, brands, and eras. People want a home that tells their story. The home has become a refuge, a stage where we are protagonists. The roles of rooms are shifting: the kitchen is now for cooking, socializing, and working; the bathroom, once a service room, is now a wellness space with attention to finishes, colors, and objects. I am convinced that color, more than form, represents socio-cultural evolution. Forms are hard to reinvent; the most beautiful ones were done in the 50s and 60s. Today we can reinterpret them with new technologies and materials. In terms of materials, we see warmer whites, textured ceramics, decorated fabrics, and a return to darker woods. The Italian manufacturing touch is crucial. Design is everywhere now, from a water bottle to a car. There is always something new to create. We should not forget the impact of the local context: global chains now adapt to local cultures. Young people often buy iconic pieces for their first homes. Minimalism remains a niche, while Nordic style is being rediscovered. The eclectic style mixes elements from different eras and cultures. The 70s are coming back in high-traffic spaces. For bathrooms, the evolution has been remarkable: from the 50s to today, the bathroom has become a protagonist room with luxurious materials and open spaces. I entered Flaminia almost by chance over 20 years ago. I knew nothing about bathrooms. For a show, I was paired with a ceramic company. I thought I'd design a vase, but it was for sanitary ware. I had a moment of crisis, but I looked around and saw all round, small basins, so I designed a large, square one-off piece. Flaminia believed in it. The most positive comment was that it looked like a pig trough, but they trusted me. As Matisse said, to innovate you need a bit of madness.
Fortunately, Flaminia became a market reference point. We worked on technological and formal innovations, because a company today must be contemporary. Innovation is not just new forms but also production systems and environmental respect. Flaminia is deeply rooted in the territory with a strong social role. We have done projects in prisons, worked with various designers, and focused on sustainability and circular economy. Vintage market grew 180% among young people. Design must be conscientious and multicultural. Thank you for your patience.
Well, congratulations to Giulio Cappellini. I've noted some things for my future projects. Now it's time to ask questions. The floor is open to you.
I'm transparent. Sure, you always plant a fake question to break the ice. Then the real questions start.
No, I have a question though.
Can I? You spoke about a time of great change. Things go fast; if you don't change you risk becoming obsolete. Instagrammable things are fleeting. I have a clear idea that the house should be fluid and open. What is the house of tomorrow? Does society impose changes on the house, or does the house suggest changes to society?
Fluidity is fundamental. Offices have evolved faster with open spaces and campuses. In homes, kitchens opening to living rooms and bathtubs in bedrooms are becoming normal. The change is happening step by step.
Questions? At the microphone? Can you hear me?
I was interested in what you said about demanding clients and their need to tell their story in their home. How can designers capture and interpret these requests or anticipate demand?
We should all take psychology courses. The relationship with the client is fundamental. Today's consumers are more mature but also more confused. Non-standardization is contemporary. It's harder but more satisfying.
