Keramik: When Ceramic Became Central to Cattelan Italia

There was a time when ceramic in furniture was treated cautiously, almost politely. Durable, yes. Practical, certainly. But rarely central to the design conversation. For Cattelan Italia, that perception began to shift more than a decade ago, during a period when the brand was actively questioning how materials could do more than simply finish a surface.

The decision to work with ceramic at the scale of large tabletops was not a cosmetic one. It changed how the furniture behaved, visually and structurally. What followed became the foundation of the Keramik collection, where ceramic was no longer applied but built into the design itself.

In this collection, ceramic feels less like an industrial material and more like a crafted surface. It carries weight, texture, and variation. The brushed finishes introduced in the Keramik Premium range, in particular, bring a tactile quality that feels closer to sculpture than manufacturing. There is restraint in how the surfaces are treated, but also confidence. Nothing feels overworked.

This approach is especially evident in models like Skorpio Keramik, where structure and surface are inseparable. The ceramic top doesn’t sit on the table as an afterthought. It belongs there. The result is a dining table that reads almost architecturally, solid without feeling heavy, precise without feeling rigid.

For Cattelan Italia, ceramic marked a clear shift. It stopped being a material chosen for performance alone and became a design statement in its own right. Durability remained essential, but so did elegance and experimentation. The material allowed the brand to explore new proportions and forms without losing clarity.

That evolution becomes most apparent in the Napoleon table. Here, ceramic moves beyond surface entirely. It becomes structure. Advanced moulding techniques allow the slabs to curve and fold into fluid forms, giving the table a sense of movement. The central base, formed by two mirrored ceramic elements divided by a narrow vertical groove, balances mass with lightness. It feels grounded, but never bulky.

The same thinking extends outdoors. With the Napoleon Keramik Outdoor table, the sculptural language of the indoor collection is carried into open-air settings. Ceramic proves its versatility here, holding its own against changing weather while maintaining the same visual discipline. Edges soften, volumes remain controlled, and the material continues to define the piece rather than decorate it.

What runs through the Keramik collection is not just material innovation, but a consistent way of thinking. Each experiment builds on the last. There’s an awareness of tradition, particularly the Made in Italy culture of craft, but also a willingness to let materials evolve beyond their expected roles.

In a moment when sustainability is no longer optional, ceramic also makes sense. It is natural, durable, recyclable, and long-lasting. But that practicality never overshadows the design intent. Instead, it supports it.

With Keramik, Cattelan Italia shows how material research can quietly reshape a brand’s identity. Ceramic becomes the medium through which design, structure, and storytelling meet, without needing to announce themselves too loudly.

You May Also Like

A Still Summit: Urban Serenity Redefined Forty-One Floors Above Mumbai

A Contemporary Wada in the Wild: Jungle Homes Tadoba Reimagines Maharashtrian Architecture

A Palace Reimagined: Inside Gazal Gupta’s New Delhi Flagship by Renesa Studio

Watch this Bengaluru villa carry Indian heritage with a cool, contemporary ease

Modern Arabesque by Miller Design: A Contemporary Home with Measured Eastern Nuance