Offering two extra-large formats (900 x 150mm and 900 x 300mm), Carioca is a range of bold colour infused cork tiles that can be mixed at will for a strikingly different wall. Each tile is made in Portugal using cork from the country’s carefully protect forests and which is already recycled from waste of the wine stopper industry.
Available in 15 shades from Bluemoon and Dove Blue through Forest, Terracotta and Safrron to Purple, Blush and Pearl; Carioca also comes in eight multi-colour designs of complementing hues coordinated to the monochrome options. Each tile features a machined edge to give a pronounced, thick join that reveals the almost-black cork base layer, adding depth and making the wall even more captivating.
Bringing a modern graphical edge to cork’s timeless natural aesthetic, Carioca expresses the liveliness and energy of cork as a contemporary surface material. FSC-certified, the tile uses cork’s inherent sound absorption and thermal regulation benefits to improve acoustics and energy performance. A water-based Aquadur® matt finish fights off marks and makes maintenance easy, ensuring that despite it light weight, Carioca has the performance needed for today’s commercial interiors.
Paulo Rocha, product and R&D manager, Granorte, says, “Carioca’s beauty is in its fusion of modern graphic design and natural material to provide a more sustainable alternative to man-made surfaces. Marco’s clever use of bold colour and strong graphic lines on top of cork’s individual and intrinsic beauty, produces a powerful aesthetic that’s hard to ignore.”
Natural, renewable, recyclable, bio-degradable, PVC-free, lightweight, high-performance and strikingly good to look at, Carioca is another example of Granorte pushing the boundaries of possibilities with cork.
Granorte is one of the brands that has taken advantage of our Industry Support Package. To keep up to date with supplier news, click here.
Delivering a rich collection of decorative cork veneers, Decodalle presents the depth and variety of finishes achievable in this natural and sustainable material, proving its association with retro finishes of the 1960s is dead.
Presenting a finish that’s not only intrinsically beautiful and diverse, but also warm, quiet and durable; Decodalle allows interiors a powerful natural aesthetic without compromising function. In fact, with its Parawax matt coating for resilience and lightweight agglomerated cork backing for easy fitting, Decodalle is a wall tile with impressive features all round. Greenguard certified, 100 per cent ortho-phthalate free and with no added formaldehyde, Decodalle also has the sustainable credentials to match its natural origins.
“When developing products, we appreciate the single biggest influence in choosing cork: its status as a natural and renewable material,” said Paulo Rocha, product and R&D manager at Granorte. “We look for ways to preserve as much of this reasoning within the development of the product, so if there’s an option for a more sustainable or less polluting material we’ll take it, even if it means more development.”
Decodalle is available in 14 cork looks in a 600mm x 300mm x 3mm format for vertical or horizontal application. From the natural forms of Expression and geometric blocks of Elements Rustic Black to the colours of Twist and conventional granulated looks like Forest and Grain, it’s a rounded collection that offers designers real opportunity to create a visual treat.
Granorte is one of the brands that has taken advantage of our Industry Support Package. To keep up to date with supplier news, click here.
In Conversation With: Andrew Sadler from CTD Architectural Tiles
Editor Hamish Kilburns sits down with the Andrew Sadler, CTD Architectural Tiles specifications sector manager, to discuss how the industrial trend in surfaces is evolving, sustainable wall covering solutions and how tech is driving a new age in tile design…
2019 is proving to be a pivotal year for surfaces. While trends are being replaced for a burning need for designing with purpose, sustainability is being discussed widely in more ways than ever before.
Meanwhile, art on the international hotel design scene continues to spill outside the frame, and often onto the walls. To understand more about how surface suppliers are coping with the rise in demand for vivid wallcoverings that can completely change an interior designs space, I spoke to CTD Architectural Tiles’ specifications sector manager, Andrew Sadler.
Hamish Kilburn: Can you explain how the industrial trend (especially in wallcoverings) has evolved recently?
Andrew Sadler: The industrial trend has developed mostly due to production technology. The introduction of ‘Continua Plus’ has allowed the production of larger sizes than ever before, which has been a real change in the trend, and the products specified. The first generation slabs were marble-based designs but now we are seeing more industrial design themes such as concrete and metal coming through. See Maiora Concrete 2.4 x 1.2 metre slabs.
Some factories are however are embracing the desire amongst specifiers and clients for authentic production techniques. We can see this in both our Zelij and Croma ranges.
HK: What would you say is the biggest pitfall among designers when specifying wallcovering?
AS: With tiles, the biggest pitfall among designers is probably understanding that the tile is just one element of a system. Consideration needs to be given to the substrate the tile is being fixed to and how the area is tanked to mitigate water ingress and potential failure. CTDA work with both Schluter Systems and Jackon to offer the specifier peace of mind through provision of a wide range of wetroom and substrate solutions. From a design perspective, trying to replicate the popular brick bond or herringbone/parquet style of floor tile used on walls can cause a challenge when the room is fitted with spotlights. All of a sudden the lipping on the tiles, unevidenced on the floor becomes all too apparent.
HK: Why are surfaces within public areas more important now than ever before?
AS: The public areas are the key selling areas of the space – the face of the project – so an aspirational appeal is crucial. This appeal needs to married however with a floor surface that is safe to use to protect the client from slips and trips and the hotel from litigation or reputational damage. We have seen the adoption over recent years in the UK of the Pendulum Test as the acceptable measure of a tile’s slip resistance. The implication of this is that we are seeing public spaces being fitted with tiles that have a higher slip resistance than was previously the norm. Whilst this is great from a safety perspective, it does cause challenges with cleaning these spaces as the more textured surfaces are more attractive to dirt. We see therefore a move away from lighter tones (whites, creams and ivories) towards darker tones (grey and anthracites) where the floor does not reveal its secrets so easily.
HK: How sustainable are CTD Architectural Tiles’ products?
AS: There are many advantages to ceramic tiles against alternative materials. Made from water, clay and fire – these elements give rise to a natural and quality material which is free of toxic substances, making it a strong alternative to materials such as plastic laminates or vinyl. Ceramic also has a very long life cycle and is therefore sustainable from a longevity point of view. There also isn’t the need for excessive maintenance, which makes it more advantageous than wood or parquet flooring for example.
HK: How was nature used as inspiration in your latest collections?
AS: Launched earlier this year, our Amazonia collection is the epitome of how botanical influences are finding their way into the commercial and hospitality sector. A celebration and seamless marriage between rustic handmade influences and the trend for biophilic design, the Amazonia collection is versatile and unique. Combining botanical patterns with a pared-back, nature-inspired palette to enliven spaces of all sizes, the collection offers endless opportunities to combine and mix distinctive tiles.
Image caption: Amazonia Grey Hexagon from CTD Architectural Tiles
For a more floral take on the botanical trend, ranges such as Maiora’s Custom Décor’s offer the possibility to create true feature walls with over-sized tiles – see p36 in this catalogue.
HK: How is technology allowing you to create more immersive products?
AS: One of our key launches this year was our 20mm-thick Porcelain Pavers collection, which is a testament to the advances in technology having a direct impact on the options that are available. The Porcelain Pavers collection is made up of 22 different tile ranges and each and every product meets all the technical and design requirements for exterior applications as well as indoor applications. The 20mm thickness means that it is extremely durable and resistant to breaks and scratches as well as being fade and frost resistant. Boasting a +36PTV (wet) slip-resistant structured surface, the tiles are also extremely low maintenance thanks to their exceptionally low porosity.
Image caption: Porcelain Pavers from CTD Architectural Tiles
Offering the added benefit of easy installation, the 20mm ranges can be installed in a number of different formats depending on the environment and project requirements. Providing the ultimate flexibility, the products can even be loose laid onto gravel, sand or pedestals, making them both accessible and re-usable.
Advances in technology and production have also led to the introduction of a more diverse product portfolio in terms of styles, colours, patterns and designs. One of our most recent collections, Venice Villa, delivers the beauty of terrazzo captured in porcelain. The terrazzo look originates from using left over marble chippings into cement as a way to use excess product. A reinterpretation of this famous look, the Venice Villa collection is an exquisite contemporary twist on the traditional terrazzo trend, combining the appearance of crushed marble fragments with the excellent properties of fully body porcelain stoneware. Available in eight colourways in a polished, natural or structured finish, from monochrome Silver, Grey, Zinc and White to the more colourful options of Earth, Beige, Graphite and Ivory, the Venice Villa tiles offer an intriguing combination of colours that capture and reflect light, enhancing commercial spaces of all types. Expressing the beauty of the material that inspired the collection, the porcelain surfaces of the tiles combine the traditional look with modern materials making a surface that is easy to maintain and clean.
EXCLUSIVE ROUNDTABLE: Adding personality in hotel public areas
In partnership with Arte Wallcoverings, editor Hamish Kilburn invited some of the leading hotel designers and architects to Design Centre Chelsea Harbour for a live debate on how to add sustainable personality in the ever-evolving arena of public areas. In addition to being involved in the engaging conversation, the designers, directors and principals were also the first to see Arte’s five new collections, which were officially launched a few days later at Focus19 during London Design Festival…
Design experts around the table:
Siobhan Kannenburg, Commercial Manager UK & EIRE, Arte Wallcoverings
Sam Hall, Global Head of FF&E, GA Group
Fiona Thompson, Principal, Richmond International
David Mason, Head of Hospitality, Scott Brownrigg
Caroline Cundall, Director of Interior Design, IHG
Vitalija Katine, architect, Jestico + Whiles
Arianne Steinbeck, Managing Director, RPW Design
Regardless of style, size or star-rating, recent hotel openings suggest that public areas are evolving, and fast. No longer an empty air pocket in the building’s structure, the lobbies that are being created or renovated today are unconventional active spaces, designed to flexibly accommodate all guests whether they are checking in for business, for leisure or in many instances, for both.
Hamish Kilburn: How have the ways in which consumers use public areas changed?
Fiona Thompson (FT), Principal, Richmond International: Generally, how guests behave in hotels has changed. The demographic is completely different. At one point, hotels were quite intimidating places, and not very accessible. That’s been one of the most significant changes I have seen. Hotels have become much more outward-looking and much more accessible to everyone. People now use spaces how they want to use them. Therefore, public areas, in general, have a greater sense of informality.
Vitalija Katine (VK), architect, Jestico + Whiles: One of the largest changes I have noticed is the accent of activation points in lobbies. The activation point of, for example, pop-up bars and pop-up receptions can be positioned and adapted easily in the lobby. I think the public space of a hotel has been the highlight of the last four years, because people are lounging in the lobby as opposed to using it simply as transitional space.
David Mason (DM), Director of Hospitality, Scott Brownrigg: There’s a lot more awareness now about the ecological message that hotels are trying to amplify. Also, with the appeal to millennials, there’s much more awareness on the public areas. I imagine there will be a lot more focus on some kind of hotel standard where we really start to look into what is going into hotels, and that will come from hotels aiming to achieve an environmental space. Although hotels are already acting to be more eco-friendly, I think it will become even more of a focus.
Caroline Cundall (CC), Director of Interior Design IHG – Europe: How people work and specifically how people hold meetings has changed massively. That has had a large affect on our lobby spaces. More and more people are roaming around with small laptops and lobbies are much less formal than they used to be. Hotels are recognising the value in attracting more than just the guests staying at the hotel, and the current boutique influence is a catalyst in all of this.
Sam Hall (SH), Global Head of FF&E, GA Group: I have seen more awareness in hotel operators in understanding how space is used. There are many examples of hotels that use every inch of the space as a revenue generator. CitizenM, for example, feels very intimate because the space is broken down. The grand volume of entering a hotel is behind us, perhaps not in Asia or the Middle East, but in Europe and elsewhere for sure. Space is at a premium and every inch of it has to make money. Designers are using the materiality to make spaces feel softer and warmer. These grand areas full of marble are not really where it’s at anymore. Instead, designers are trying to make these soft and reduced acoustics, so it feels more comfortable.
“It doesn’t matter what word you throw on it, what people want is a well-designed space.” – Arianne Steinbeck, Managing Director, RPW Design
Arianne Steinbeck (AS), Managing Director, RPW Design: The launch of W New York on Lexington Avenue in 1998, designed by David Rockwell, was a pivotal moment. Before that, it was unheard of to serve drinks in the hotel [public areas] and play music. And now everyone is doing it. That was the start of this boutique look and feel that we see today. It doesn’t matter what word you throw on it, what people want is a well-designed space. I think that everyone in the industry has upped their game across all brands, which is a result of consumer demands. To be honest, I’m surprised it took so long.
HK: Are you saying that there is less of a space for grand and open lobbies on the international hotel design scene?
AS: I think there will always be a space for this style of hotel. Personally, I love hotels that remind you that they are a hotel, where the service element absolutely completes the overall experience.
SH: I agree with you, and it’s about the coming together of quality and luxury, working as one.
FT: But even some of the smaller luxury resorts capture that feeling of grand luxury. It all comes down to that amazing sense of service, but it is perhaps delivered in a more modern way.
“All these hotels that feature over decoration to differentiate from others will disappear.” – Fiona Thompson, Principal, Richmond International
HK: Trends is a sensitive term in hotel design. But do what extent do emerging trends come into your decisions when selecting wallcoverings on a project?
AS: It’s come full circle. When I started in the ‘80s there were a lot of patterns on the wall. And then it washed out to a symphony of beiges. Now we seem to be coming back to a little bit more colour and pop. In a few years’ time we might perhaps look at this ‘greyeige’ situation again. That’s why we have all these different brands, because there is room in this industry for individuality.
FT: There is going to be a move away, for sure, of this extraneous design for the sake of it. All these hotels that feature over decoration to differentiate from others will disappear. The young generation want something that is a bit more meaningful. All these words get thrown around: timeless, authentic, and I’m not really sure what they all mean. There is going to be this move away and everything will have more of a purpose.
Hotels are typically big environmentally bad beasts that use power and electricity and decimate environments. Therefore, I predict there will be a call for them to be more responsible, and this filters down to the materials being used to design them.
HK: From a product point of view, how does Arte select trends?
Siobhan Kannenberg, Commercial Manager UK & EIRE, Arte Wallcoverings: As a brand, we don’t really have a specific style. You can always recognise Arte by the quality, but we try to cover all basis. Trend-wise, sustainability is becoming more and more important for our customers, so we are using more natural materials and that is certainly what is called for. Also, I am really excited to see tactile patterns are coming back around.
CC: The fashion industry has always had a huge influence on design. There’s so much talk about recycling in the fashion industry at the moment. Like for example reusing materials, and this is already something that hotels are looking at.
FT: The fashion industry is always half a season ahead. However, things are going to change because they are being challenged. It will be interesting to see how this will filter down into the design sector.
SH: Where brands could go wrong is using sustainability as a selling point, whereas I believe it should be the foundation of the brand and not the feature. I’m hoping that everyone will end up speaking the same language in design to use for purpose and just naturally recycle materials. One of the key benefits of wallcoverings is that it is so easy – and much more affordable – to change and update interiors.
AS: I have no problem reusing something from a previous renovation that still looks good. You don’t always have to throw everything out. Sometimes the casegoods, for example, are on par or better than what you could buy new. And with the right wallcovering, the space will look fresh and retouched.
SK: When we are designing our Arte collections, we like to think of wallcoverings as our showstopper. Is that accurate?
FT: I think it hasn’t been in the past, but actually bright colours and patterns are becoming the centre stage.
HK: In all honesty, how much of the budget, time and consideration goes on the wallcovering decisions – and can you talk me through that process?
CC: You can never estimate these things. The fact that Arte has many wallcoverings that are quite distinctly statement pieces is interesting. If an interior designer would put that into specifications there’s no way that would be changed. It’s the one thing that would be a focal element to a scheme. And if that’s an initiative that everyone agrees on then it will go ahead.
DM: Designs are moving massively forward. From what I remember 20 years ago, the range and difference is incredible. There are so many interesting things you can do now with the wallcoverings, and I have been introduced to such a vast range of materials.
AS: It’s also worth mentioning how much more you get in a product these days. Digital printing changed the pace of innovation. You can have so many awesome effects with digital printing, and I expect to see more of that.
HK: What would you say is the biggest misconception from a client’s point of view?
ALL: That the client can do it better!
SH: In all seriousness, all of these interior designer programmes make it look so easy.
HK: How has the evolution of social media changed the ways in which your briefs from clients are coming in?
FT: I don’t think it’s any different from years ago when we were asked to create ‘wow factors’. It’s just a different terminology. I ban Pinterest. It is too easy to find information these days. I really encourage our designers to go out and see hotels in person, because I don’t want them to lose that discovery process.
AS: I always have to ask which page on Pinterest a look came from, because if it’s from the first page, I don’t want to know.
DM: You’re right, and when they see hotels, I encourage them to find something new than what they have seen online. Too often people are looking for the same shot, the same framing that they have already seen on social media, and it is stripping creativity from the process.
We were actually given a brief for an independent hotel which was solely to create an instagrammable hotel, which would never have happened only a few years ago.
We were challenged quite a lot by Hard Rock International when designing the London property. The brand is American and very bold. To be fair to the client, although we did go backwards and forwards, we did manage to convince them to tone down the ‘instagram moments’ for an audience in London.
VK: We are asked quite often by clients what we consider to be ‘our moments’ in the design. The attention that the ‘Instagram moment’ is getting is much larger and much more exposed to the general public. There is no ‘one size fits all’ solution. What works in one region does not necessarily work in others.
HK: With the rise in demand for hotels to feel more boutique and independent, how are the materials you are using in the public areas changing?
SK: From Arte’s point of view, there seems to be a lot of misconception that vinyl is what is asked for from the big brands. Actually, with the influence of independent and boutique hotels, hotel groups are more willing to use range of products and materials. As manufacturers, we see vinyl an essential material for corridors for obvious reasons, but it’s a different story in the lobby. People don’t really touch the walls, so there is the ability you can have more fun with a variety of materials.
CC: Fire regulations is key for the country you are in. As long as a material and product has passed its certification, I totally agree.
HK: How do you predict public areas further changing in the next 10 years?
CC: More people will start to work remotely. Working in London, there isn’t anywhere comfortable to sit and have a meeting with a few people. I think that should be the next focus, to have more discreet places to have a meeting – and hotels could harness this well.
SH: I think that there is more that can be done around connectivity. Public areas can still further become even more accessible.
FT: It will be totally connected to how we work and live. People don’t have the formality so much of going to an office anymore. The behaviour of ‘hotdesking’ is interesting and public spaces in hotels can really respond to that.
Following the exclusive panel discussion, the leading designers and architects were the first to browse Arte Wallcoverings’ five new collections (Expedition, Wildwalk, Essentials – Les Nuances, Velveteen and Sketch (HookedOnWalls)) before they were officially launched a few days later at Focus19.
Woven Image has collaborated with world renowned industrial designer Michael Young on a new range of acoustic wall panels. Notable for their extraordinary patterns that feature contrasting colour prints as well as subtle tone-on-tone colours and pearlescent ink, the Muse range is perfect for seamless floor-to-ceiling applications in commercial interiors.
The collection comes in three designs: Muse Fluid evokes the movement of the ocean and is available is five colourways (Ice, Ivory, Goldeneye, Lavender and Emerald); Muse Cloudy is based around a series of varying dots that converge to produce a ‘cloud-like’ effect and contains three options (Sandstone, Starlight and Foam); finally the cross-hatch style design Muse Mineral can be specified in two different versions (Calcite and Steel).
The panels, which are 1180mm x 2800mm high untrimmed, are manufactured from PET, 68 per cent of which has been recycled. They aim to reduce reverberated noise in commercial spaces – achieving a Noise Reduction Coefficient rating of 0.30 (no air gap) and up to 0.75 (with 50mm air gap).
According to Young, his studio brought a very particular sensibility to the product. “I believe these designs are genuinely cutting edge,” he explains. “It seems to me that an industrial design office is going to take a different approach to creating a pattern than an artist or even a graphic designer,” he said. “We created the aesthetic for Muse Fluid, Cloudy and Mineral using a software program called Grasshopper. By setting up an animated algorithm we generated a changing two-dimensional pattern and freed the animation at a particular point to build the final image. In other words, we are not creating conceptual decoration but technical decoration. The finished results look wonderfully mathematical.”