On the occasion of Milan Design Week, Iris Ceramica presented Bottega d'Arte, a high-end red body wall cladding project that rediscovers the value of craftsmanship. Among the initiatives planned for the Fuorisalone which, like every year, transforms spaces and places around the city into an “urban theater”, Bottega d’Arte presented its conceptual exhibition in a location with a strong artistic value: VOCE, in the Gallerie d’Italia at Piazza Scala.

Every thought that harbors a story tells us about its origins and the roots that bind us to it. With this in mind, Iris Ceramica is returning to its origins, on a journey to discover red body clay. Bottega d'Arte is a high-end red body wall cladding project. The recovery of ancient know-how combined with the use of a strictly traditional natural material are the basis of Bottega d'Arte's proposal. This is an interesting initiative for the brand, part of the Iris Ceramica Group, which first launched its business producing red body ceramics in 1961.

Bottega d’Arte rediscovers the value of craftsmanship, the most tangible manifestation of the intangible culture that guarantees a sense of identity and history for communities. Artisan techniques are not fixed and codified, but evolve over time, are transmitted from teacher to student and adapt to technological evolutions. With this approach, Iris Ceramica is recovering its red clay processing techniques, applying its industrial capacity to an artisanal dimension, adding the “handmade” value to the material.

Heritage in progress and innovation rooted in tradition. The Bottega d'Arte terracotta combines the value of the material with the talent of the workshop and expresses a strong bond with the territory, capturing the attention with an interesting combination of traditional and contemporary aesthetics, in a wide range of finishes and colors, establishing itself as a trendsetter of style and elegance, like a haute-couture fashion house.

This is where the name Bottega d'Arte reveals all its significance and meaning, referring on the one hand to the Art and Crafts movement of William Morris, who fought to give the so-called “minor arts” the same dignity as the so-called "fine arts", and on the other to an intimate relationship with production, as in a Renaissance workshop; not simply an experimentation laboratory, but rather a space in which truly timeless works come to life.