17 May 2023

R.I.S Ceramic


Research Innovation and experimentation Ceramic

I believe that research and experimentation are factors of evolution for any material: renew without destroying the past, any form of art. Since 2004 I started a difficult way, but exciting, full of surprises, but also of disappointments. Ceramics rich in history, technology and science is a material ultra contemporary, if understood in all phases of the technology can give new and innovative solutions. Curiosity has led me to find new techniques that from experimental have become practical and constitute all my works of art. Sharing my techniques with designers, architects, artists and companies has brought new solutions and new styles that are useful in the innovation of ceramics. 

In red the techniques I discovered and the first works created

I am deeply convinced that the research term is overlaps with that of evolution. It does not have to be strenuous and unabated but rather reasoned and respectful. Changing the essence to be also in the contemporary value.

Nicola Boccini



Non-appointed, unconventional spaces. The container becomes the content. Space, emptiness becomes matter.


PRUA 2021

“The work, resembling a vessel, sails the sea of the world, full of events, challenging it”.


The scaled work/prototype presented for the creation of a sculpture at the new headquarters of the Carabinieri barracks in Bellaria Igea Marina aims to bring together all the requirements requested by the theme of the competition, along with their aesthetic correspondence.

The work presents itself with the bow, the front end of a vessel, which in this case takes on the features of the N800 patrol boat used by the Armed Forces for maritime surveillance and security.

In the same direction, at the tip of the patrol boat’s bow, there is an abstraction of the flame of the Carabinieri, which in this case acquires a double symbolism; both a metallic tree that develops its flowing and shining crown, and a branching of tricolored marine waves, also recalling the strong presence and love for the Italian territory of the Armed Forces. These elements are constructed with a steel sheet; the upper part polished with silver and gold plating, the lower part with resistant films that bear the colors of the Italian flag.

A phrase marks and runs along the sides of this “vessel” to emphasize the dedication of these men:

“…Not for the pride of excelling, but for the love of providing…”

aken from a writing by Saint Augustine.

In the stern of this vessel, an internal staircase is constructed where, when necessary or for some ceremony, the Commander of the Barracks could climb and address the audience from this “different pulpit.” The risers of the steps that form, built in Corten Steel with lights (3 steps with 6 LED spotlights), will be covered with porcelain stoneware slabs on which the emblem of the Carabinieri will be reproduced in ceramic.

The two sides of the vessel are made with two natural slabs of 3 cm blue quartz, irregularly and chromatically striped, also reminiscent of the color of the patrol boat.

At their summit, to reinforce the image and reality of the naval unit, a stainless steel handrail is attached.”

Bando di Gara : Ministero delle Infrastrutture e Trasporti , Lombardia e l’Emilia Romagna. CUP D 57H13001680001 – CIG 7264543A85
Disciplinare d’incarico n. 2834 di rep del 21/12/2021
Ideazione e Progetto : Nicola Boccini e Nicola Renzi
Progetto Tecnico Cad: Studio Andrea Dragoni
Studio Tecnologico e Ricerca: Nicola Boccini e Nicola Renzi
Esecuzione: Rocchi Marmi, Mericat, C.R. C ostruzioni Meccaniche, Grifo Car.
Evento: Installazione permanente presso il Comando dei Carabinieri di Bellaria, Igea Marina, Rimini

Nicola Boccini and Nicola Renzi Sculpture project Bellaria Igea Marina Rimini
Sculpture marble project, and perforated lettering
Nicola Boccini and Nicola Renzi sculpture project drawing Bellaria Igea-Marina Rimini Italy
Final design in steel of the carabinieri flame
Nicola Boccini and Nicola Renzi sculpture project ceramic at the Rimini Carabinieri
Project and measurements of steps in porcelain with coat of arms
Nicola Boccini and Nicola Renzi sculpture project with Dragoni studio Perugia-Carabinieri Rimini
Carpentry project, "Andrea Dragoni Architecture Studio" Perugia
Nicola Boccini and Nicola Renzi sculpture -prototype Igea Marina Italy
side, scale prototype
Nicola Boccini and Nicola Renzi sculpture - prototype sculpture Rimini Italy
3/4 scale prototype
Nicola Boccini and Nicola Renzi sculpture project light Rimini Italy
Detail of tricolor interior lighting (Italian flag)
Nicola Boccini and Nicola Renzi sculpture project -Bellaria-Igea-Marina-Rimini-ceramic steps and coat of arm
Walkable part in Corten Steel and Ceramic with Carabinieri coat of arms
Nicola Boccini and Nicola Renzi sculpture project -Bellaria-Igea-Marina-Rimini-first side
Flame and tricolor flag with engraved marble
Nicola Boccini and Nicola Renzi sculpture project Bellaria Igea-Marina Rimini Prua
Detail of the prow with Carabinieri writing in relief

MARCO TIRELLI " Senza Titolo" 2021

Marco Tirelli in Peccioli creates “Senza titolo,” a series of ceramic elements that, when brought together, form a single work, composing a scene where the key element is perspective, the symbol par excellence of a Cartesian and rationalizing view of reality. In the artist’s language, perspective becomes a threshold that leads the viewer’s eye to gaze upon a dimension diametrically opposed to the Renaissance. Space is no longer illusory and does not mirror the world; on the contrary, it becomes labyrinthine and unsettling. While Renaissance perspective is a method of representation whose geometric and mathematical character reflects the desire to enclose the fragmentary nature of things in a totalizing pictorial construction, Tirelli’s work questions this philosophical vision. Despite using a perspective process and remaining within this symbolic structure, the artist’s compositions disrupt the constructive system that has supported Western painting for centuries. The lines traversing the surface of Tirelli’s work do not lead anywhere and do not refer to anything; they seem to approach and then move away, ascend and descend along the surface without ever defining a scene with certainty: “I can only illuminate some fragments of the world with my attention in an attempt to embrace it in its entirety… art is a substitute for the inadequacy of the world. For me, art is something that has an exemplary character and leads to new visions of the world and expands the boundaries of knowledge. Art does not solve problems but makes us better, more analytical, and makes life more intense.”

Observing Marco Tirelli’s works evokes a sense of disorientation. Critics, referring to the intrinsic quality of the artist’s work, have often used the term metaphysical to indicate the particular atmosphere of Tirelli’s works. The depicted images, whether geometric figures, the detail of a spiral staircase, a portion of a wall, or a threshold illuminated from behind, create disorientation because they elude easy interpretation. The space in which the depicted elements move is mostly invaded by a pervasive black color. It is impenetrable, abstract, and intangible. The objects within it are immobilized in a dreamlike dimension, and their compactness makes them detached from any contact with reality. The effect is alienating: the more concrete and powerful the images are, the more they seem to aspire to the invisible and allude to another level of knowledge beyond reality. Only by going beyond the superficiality of things and the banality of the everyday can new expressive possibilities be discovered, and it is possible to connect with our deeper and truer dimension. The forms that inhabit Tirelli’s works are essential, suspended, and not vulnerable to the passage of time.

(Text taken from Peccioli.net)

Technical Project: Marco Tirelli
Scientific Support: Antonella Soldaini.
Tecnological Research: Nicola Boccini.
Set up and Support: Scuola d’Arte Ceramica Romano Ranieri
Exhibition: Permanent Installation Comune di Peccioli (PI)

Marco Tirelli waterjet Nicola Boccini
Taglio della lastra in ceramica con waterjet
Marco Tirelli serigrafia ceramica Nicola Boccini
Inserimento serigrafia su pannello in ceramica
Marco Tirelli serigrafia ceramica Nicola Boccini
verifica e stesura finale serigrafia ceramica
Marco Tirelli cottura ceramica Nicola Boccini
cottura dei pannelli con serigrafia con ring Orton
Marco Tirelli opera in ceramica Nicola Boccini
controllo dei 72 pannelli in ceramica
Marco Tirelli opera in ceramica Nicola Boccini
Fine installazione pannelli in ceramica. Installazione 7,50 mt x 4,50 mt
Marco Tirelli opera in pannelli in ceramica Nicola Boccini
Panoramica opera in Ceramica Marco Tirelli per Peccioli

Instead of filaments and veins, there is ice, which, as it melts, releases blue and greenish colours inside the ceramic body.

After firing, these become opaque, dry and grey, like nature that is destroyed and altered by man, but a light source brings the colours to life, making the material glossy and smooth, and displaying the hues of the porcelain particles modified by the process of the compound’s thawing and absorption. Starting from images of the melting of the ice-caps, which are typically light blue due to reflections of the sky, Boccini creates ice that is coloured by some of the minerals that are already present in all types of water, but increasing their percentages, in order to generate surfaces of coloured ice with a uniform structure.

The pigment particles absorbed by the porcelain body definitively change the material’s structure
and composition. The behaviour of the “coloured” ice’s melting is a reference to the spectator’s idea of ice, enhancing the sensorial and emotive effects which become part of the experience, allowing the development of a mental state of perception. The essence of objects is universal and shared by all people.

Boccini performs an operation of abstraction, research and experimentation, leading to new solutions involving shape and colour. He applies this Gestalt psychology using ceramics in order to confirm his theories, with a series of experiments through which he explores and assesses the perception of shape
and the laws of matter.

D.ssa Claudia Bottini


CCC liquid ceramic with pigments, Nicola Boccini
Demineralised water with pigments in different percentages
Nicola Boccini iced ceramic- CCC
Container for ice, pigment subdivision
change ceramic climate test 3
Colored ice cubes (pigment) "test 12", horizontal melting on porcelain
Change Ceramic Climate after firing
"Test 12" after high temperature firing (1260°) Cobalt and copper in different percentages
CCC detail without light
"Test 21" detail without backlight
CCC detail with light
"Test 21" detail with backlight

Ceramic 3.0 -Organic ceramic (2015)

Organic Ceramic

“Ceramics in the new Concept”

A new language to be created in continuous evolution!

First….. passive clay in the hands of a manipulator.

Let’s imagine it alive! Ceramics redeems its freedom, expresses itself, is more independent.

A new concept of research where the interaction between different elements is enhanced, where the artist is more spectator. The artist’s creativity is in intuiting what elements, how many and how much of each one, leaving free movement and perception.

Technical Project: Nicola Boccini
Scientific Support: Maurizio Cenci
Tecnological Research: Nicola Boccini
Exhibitions: MIC, Interational Ceramic Museum  in Faenza 2015. Academy of Fine Arts  in G’Dansk 2016. Academy of Fine Arts in  Perugia 2017. Politecnico di Milan 2017, Contaf Campinas 2016 (Brasil). Academy of Fine Arts in Lintao 2016 (China). Academy of Fine Arts in Florence 2019.
web: www.boccini.it/en/organic-ceramic/

Nicola Boccini, organic ceramic test-A
Test A, one finger on P.D.A.
Nicola Boccini organic-ceramic, test A, bacterial culture
Test A, bacteria culture
Nicola Boccini organic ceramic test 23
Test 23, two fingers
Nicola Boccini organic ceramic test 23
Test 23, bacteria culture
Nicola Boccini organic ceramic 3.0 trace left by bacteria
Trace left by bacteria
Nicola Boccini organic ceramic 3.0 test after firing
Test after firing. Ceramic 3.0


In the South, the process leading to the marriage is a sacred familial affair. There are rituals that must be respected even if they are questionable or obsolete, respect for tradition is a good enough reason to justify the effort. One of these rituals is the preparation of the bride’s dowry. Beautiful and expensive possessions, functional yet never to be put to use, entombed in cabinets and drawers in the new marital home. Among these idealized objects never fail to appear some luxurious tableware, a set of high-end dishes that will pass the rest of its existence in a vitrine, except for few rare occasions. This project revisits precisely this group of objects, transforming it into a new artifact. Finally the pile of dishes takes on a new connotation both formally and functionally, and perhaps even a new location in the life of the couple and their domestic landscape.

Giovanni Innella

Technical Project: Giovanni Innella
Design: Giovanni Innella

Tecnological Research: Nicola Boccini
Work in Clay: Augusto Girolamini
Exhibition: Milano Design Week 2022,  Rossana Orlandi Gallery (Mi) 
web: www.giovanniinnella.com

BREATH - 2012

Ecodesign project for the creation of an innovative and ecological design product. The ceramic kitchen hood with remote controls.
The hood can rise and perform the functions of suction and lighting, once the need is complete, it can go down and create a garden island, with the most used kitchen herbs.

Technical Project: Best stile & lifestile
Best stile & lifestile
Painting: Ditta Ubaldo Grazia Deruta (Grazia Project)
Technical Execution: Nicola Boccini
Exhibition: Salone del mobile 2014, Milan


Project of Applied Art to Sound, vibrations on ceramics. Kinetics, frequencies and vibrations in the ceramic support.

Technical Project: Giulio Mannino
Technologist and Researcher:
Nicola Boccini
Execution and technological study: Scuola d’Arte Ceramica Romano Ranieri

Exhibition: Tesi di laurea – Naba and  59° Ceramic Competition “MIC Faenza” (special prize)


Containers made on the potter’s wheel or with 3D prototypes and subsequent plaster mould. Since 2009, a collaboration has begun with various designers for small quantities of customized containers. Porcelain stoneware is the best solution for making these products, in fact it guarantees impermeability, internal anti-acid resistance and a guarantee of non-leakage of glazes in contact with liquids.


Technical Project: Nicola Boccini
Technologist and Research:
Nicola Boccini
Realization and Production: Ditta Grazia Deruta e Scuola D’Arte Ceramica Romano Ranieri
Designer: Marta Toni 
Exhibition: “Fabbrica Birra Perugia 1857″ – 2011 – 2013 – 2015 – 2016 – 2017 – 2018  

Nicola Boccini-Perugia Factory Beer-stoneware red Bottles
Perugia Factory Beers-stoneware red bottles
collection (from left) 2011 - 2013 - 2015 - 2016 - "Fabbrica Birra Perugia 1857"


“Design in Ferment – Umbrian Breweries Meet Design” was presented by the Italian Institute of Design in Perugia in collaboration with the Romano Ranieri School of Ceramic Art in Deruta. This project features three “limited edition” ceramic bottles, filled with the excellence of seven Umbrian breweries (Breweries of the Perugini, Craft Brewery Fortebraccio – Futura Group, Beer Perugia, Brewery Tuderte, Brewery Mulino dei Bianchi, Agricultural Company Monastero di San Biagio, Beer Flea), accompanied by the innovative packaging from Tre Emme Graphics and Paperboard.

Design in Fermento stems from the desire to combine the enterprising spirit of the new generation of Umbrian breweries, a generation led by young entrepreneurs who, in recent years, have been returning to and reinterpreting the beer product within the territory, with the innovative and contemporary role offered by design and the culture of the project. From this intent, the idea was born to design a bottle that, through form, color, and aesthetic identity, immediately represents the values of contemporaneity and connection with the territory, of which beer today becomes an interpreter within the Umbria system.

Technical Project: Nicola Boccini
Ceramic Researcher: 
Nicola Boccini
Realization and Production: Ditta Grazia Deruta and Scuola D’Arte Ceramica Romano Ranieri
Designer: Marta Toni 
Exhibition: Expo Italia 2015 Milano

Nicola-Boccini-conference at Italy Expo 2015

Technical Project: Nicola Boccini
Technologist and Research:
Nicola Boccini
Realization and Production: Scuola d’Arte Ceramica Romano Ranieri
Designer: Marta Toni 

Nicola Boccini - Assisi olive oil factory - stoneware bottle oil
Assisi olive oil factory - stoneware, olive oil bottles

Technical Project: Cristina Daminato
Technologist and Research:
Nicola Boccini
Designer: Cristina Daminato
Exhibition: Fuori salone del Mobile 2019 

Cristina Daminato candeliere impilabile in ceramica in collaborazione con Nicola Boccini
Cristina Daminato - Candeliere impilabile - mod is mood
Cristina Daminato - Candeliere impilabile - mod is mood
Cristina Daminato - Candeliere impilabile - mod is mood



Venice Architecture Biennale (Common Ground)

The Grazia factory in Deruta celebrates its first five hundred years with a special edition of ceramics on display from November 3, 2012, at the Italian Pavilion of the 13th International Architecture Exhibition of the Venice Biennale. The Economist and Family Business ranking consider Grazia among the oldest family-owned factories in the world since the Grazia family, originally from northern Italy, established an activity in Deruta in the early sixteenth century. The centuries-old activity of the factory has never stopped, and despite the recurring market crises, today Ubaldo Grazia and his collaborators, including his daughter Chiara, continue to update the family tradition. While the ancient production is collected in a corporate museum rich in over eight hundred works, the current production not only reproduces historical decorations but decidedly looks to contemporary art and design. In 2012, Grazia hosted architect Michele De Lucchi, for whom they created a special series of limited-edition vases. A complex operation that involved extensive material experimentation conducted in the factory by Nicola Boccini and Riccardo Muti, who translated into ceramics, from the original computer-processed designs, vases of extraordinary modernity for Michele De Lucchi’s “Produzione Privata.”

Maiolica that Doesn’t Seem Like Maiolica

At the foot of the hill on which the historic center of Deruta stands, along Via Tiberina, are the locations of the artisan workshops of maiolica that have emerged over the years, each with a display window facing the street, dotted with colorful pottery, like the painted face of a productive body. As in every Italian district that inherits a tradition and makes it a reason for existence and social progress, developing an industry sufficient to support generations, on this street, medium-small-sized establishments have emerged, many still family-run, where a strong sense of investiture as custodians of a craft tradition is prevalent.

On Via Tiberina, Michele De Lucchi, intellectual, architect, and designer, and Ubaldo Grazia, heir to a company that has been artisanally producing objects in glazed red clay since 1497, met a couple of years ago.

Before then, many artists and decorators had passed through these lands to learn artisanal techniques and the behavior of maiolica. Starting from the 1980s, at the invitation of Ubaldo Grazia, artists entered his factory and sat at the tables of turners and decorators or in dedicated creative workshops with the push to innovate the language. Among the works of American artists, one can find the surprising macabre decorations of Peter Shire. After studying the production processes of glazed clay and the models of pottery that have been handed down since the sixteenth century, and after learning techniques such as dusting for faithful reproduction of decorations, many artists designed forms and patterns starting from the traditionally used maiolica color palette. A new image was thus inserted into tradition, becoming instrumental, so that maiolica became more appealing and closer to contemporary taste.

The research that Michele De Lucchi conducted with the Ubaldo Grazia company uses graphics and its message about the feeling of time to make a technical innovation on the process, with effects on color and surface finish.

Known worldwide for projects like the Tolomeo desk lamp and for leading the design office of Olivetti for a decade, designing over a hundred office machines, Michele De Lucchi uses color and material finish to convey messages at any scale: when designing objects, like the Murano glass lamps or the kilims for Produzione Privata, when setting up exhibitions, like those of Caravaggio or Tintoretto at the Quirinale Stables in Rome, and work environments, like Italian post offices, as well as when relating architecture to the landscape, as in the project to redevelop Enel power plants. Heir to the experience of Alchimia and Memphis, De Lucchi relates decoration, graphics, and color to material and form, mediating the project with the artistic influences of the contemporary.

The project of the seven vases begins with the forms, made of three parts: dome, cup, and silver-plated brass base, whose design departs from the furrow of tradition to reach the definition and sequence of colors. Wanting to trace a line with the past, De Lucchi does not select colors from the standard maiolica palette but creates them in four-color printing on the computer to achieve a precise coding of blues, greens, grays, yellows, browns, and golds, to be applied to the piece in a combination of bright and muted tones, as backgrounds and as fillings for graphic themes. In the same vase, the tones of the backgrounds and those of the decorations resonate from the cup to the dome, generating a precise rhythm of alternations.

Here is the innovation he requested from Ubaldo Grazia, and here is their ability to understand the opportunity and make available a research team, led by technologist Nicola Boccini, to initiate an experiment that would make the colors created in the laboratory based on four-color printing compatible with the piece to be decorated.

While traditionally the maiolica process involves creating the vase on the lathe, drying, the first firing, and then glazing, which constitutes a base for applying color and its subsequent fusion with the biscuit in the second firing, in this specific case, no glaze layer was applied. Instead, a special colored engobe was created, consisting of dry mixing white clay, pigments, zinc, tin, and a low/fusible frit, the latter essential to achieve the fusion-vitrification of colors on the biscuit and prevent dripping and defects. The engobes were then applied directly for background filling using the brush application technique. Riccardo Muti, artistic director of U. Grazia, placed the vase on a manual lathe and, using a brush (various brushes), applied the colored engobe to the rotating biscuit. After painting the decorations using the traditional dusting technique and applying the color for subsequent steps, before the second and final firing, a matte crystalline was applied to some fillets and semi-glossy to others, a silica that prepares the piece for firing and makes it resistant. In light of the path taken, with crystalline, glossy or matte satin depending on the points, the last missing element was added to the maiolica processing, which in the traditional process is an integral part of the glaze.

Preserving something in defiance of an ever-changing external world means being aware of the value that history has left, akin to a somatic trait, a characteristic of uniqueness that deserves to be passed down as a testament. Ubaldo Grazia, grandfather of the current owner who bears the same name, designed the building that would house the factory, and in 1921 the entire Grazia production moved from the sixteenth-century headquarters in the center of Deruta to Via Tiberina, where today there is still an industrial architecture built from logistic-production, lighting, and organization of semi-finished movements, in addition to energy exploitation needs. The placement of the kiln at the center of the complex was intended to save resources needed for heating. As the phenomenon was widespread, with entire families employed at the company, where father and mother worked together in the factory, Ubaldo set up a canteen for the workers and a babysitting service, which today brings to mind the social

Mara Corradi

Project: Michele De Lucchi
Production: Produzione Privata
Designer 3d:
Philippe Nigro
Grafic Designer : Maddalena Molteni
Ceramic Color Technologist and A.D: Nicola Boccini 
Production Manager: Nora De Cicco
Arrangement: Ditta Ubaldo Grazia Deruta
Ceramic Painter: Riccardo Muti,
Exhibitions: Milano (Salone del Mobile 2012), Perugia (Festarch 2012), Venice Biennale 2012 (Common Ground), Moscow 2013, Eataly New York 2013.
web: www.produzioneprivata.it

nicola boccini ceramiche per michele de lucchi


SETTE24 uses technology that combines all of majolica’s decorative tradition and glazing, on traditional porcelain. Porcelain harder than majolica, is non-porous, light weight and is stronger resulting in less chipping. This new process permits porcelain to be painted in the traditional majolica manner allowing for a greater variety of color use and shading not available on porcelain previously. SETTE24 can be used safely in the microwave and ovens and is dishwasher safe.

Grazia has collaborated with the Italian sculptor, Mario Molinari’s estate and Gianni Cinti, one of Italy’s young, dynamic fashion designers to create the designs for SETTE24. This dinner service allows the contrasts between the heritage of centuries and the new millennium to meet in an innovative change of style and function that signals modernity and vitality. If you appreciate worldclass craftsmanship look no further because SETTE24 is a perfect everyday service with a touch of luxury that will withstand the demands of today’s life style.


Technical Project: Nicola Boccini
Gianni Cinti
Paint and technological study: Ditta Ubaldo Grazia Deruta (Grazia Project)
Exhibitions: New York 2012- Frankfurt “Ambiente” 2012 and 2013.


Ceramica 2.0 describes contemporary, multimedia and interactive ceramics. Since 2008 I have created happenings and performances around the world with multimedia and interactive ceramics, sometimes together with other artists who share my same research.

By studying porcelain and production processes in depth, I came to make panels about 2 mm thick, making the porcelain surface much more translucent.

Nicola Boccini e Pieluigi Pompei ceramica interattiva performance "Quando io ti parlo" Polonia
"QUANDO IO TI PARLO" Installazione multimediale ed interattiva presentata al teatro Polacco. Nicola Boccini e Pieluigi Pompei
Nicola Boccini Ceramica multimediale e interattiva, ceramica 2
"I AM", performance. Pannelli in porcellana interattivi e multimediali "Dutch Design Week" 2009
Nicola Boccini Touch me now
"Touch Me Now" pannello in porcellana con sensore di rilevamento termico
Nicola Boccini "Evolution 11.0" installazione multimediale "Museo Nazionale di Danzica (Polonia) 2011
"Evolution 11.0" installazione multimediale "Museo Nazionale di Danzica (Polonia) 2011. art/r/evolution


Borsette in porcellana con led, multimediali ed interattive!

Technical Project and Design: Annalisa Caricato
Esecuzione Pittorica e studio tecnologico: Nicola Boccini
Exhibitions: art/r/evolution 2009 – 2013 – Museo Nazionale di Danzica, Selective Art Gallery Parigi.


Vestito con accessori in porcellana e pigmento fluorescente vetrificato.

Technical Project and Design: Gaia Pace
Studio tecnologico e resercher: Nicola Boccini

Evento: art/r/evolution 2010 – 2013, Museo Nazionale di Danzica, Selective Art Gallery Parigi

Nicola Boccini e Gaia-Pace bozzetto vestito in porcellana
Bozzetto vestito ispirato alla Nike di Samotracia


La scultura “Stella” è situata all’uscita di Deruta Sud, (PG) Italia.

Technical Project: Studio DA GAI Architetti Rome
Studio tecnologico e Ricerca: Nicola Boccini

Esecuzione Scultorea e Pittura: Scuola d’Arte Ceramica Romano Ranieri
Installazione: Comune di Deruta


Designers: Mauro Olivieri, Marco Pietrosante, Francesco Subbioli, Francesco Paretti,
Ceramic Project and Execution: Nicola Boccini

Francesco Paretti, Chicchera in porcellana
Mauro Olivieri design ceramica
Mauro Olivieri: sotto "Degustatore Olio, sopra "Shaker Olive"

Design Umbria km0 (2008)



Just a few months ago, the ADI Umbria association was established, the territorial branch of the national ADI association headquartered in Milan.

Founded in 1956, ADI has been managing the Compasso d’Oro Award since 1962, the oldest European award in the field of Design. The association, bringing together businesses, designers, institutions, teachers, journalists, and recently distribution as well, aims to promote and contribute to implementing, without profit motives, the most appropriate conditions for the design of goods and services. This is achieved through cultural debates, interventions with institutions, and service provision. Additionally, through the Design Observatory, ADI conducts an annual pre-selection of products or services, including through territorial branches, which are then included in the ADI Design Index, an annual publication featuring images and descriptions of outstanding Italian design products. The ADI Umbria is based in Spoleto, a city with which it has signed a memorandum of understanding to initiate various initiatives for the dissemination and promotion of design. The first of these was a meeting between designers, entrepreneurs (Confindustria), and institutions (Mayor and Councilors of the Municipality of Spoleto).

DesignKM0.Umbria.it Collection

An innovative chef, 30 designers, and some ceramic producers from Deruta are the ingredients of the designkm0.umbria.it collection. Designers drew inspiration from Umbrian recipes reworked by Chef Joélle Paoli, who used only seasonal food materials, vegetables, and cheeses from the region (km0). The shapes, colors, and scents proposed by the chef, as well as ceramic processing techniques, guided the designers in the search for the perfect dish for their assigned recipe.

Through continuous and dialectical dialogue among the participants, prototypes were produced, which will then be manufactured in hundreds of copies. The attempt is to trigger virtuous mechanisms in the local production fabric through the innovative approach typical of design. New forms and types of objects arise from the use of traditional techniques adapted to contemporary needs and lifestyles.

DesignKM0.Umbria.it Traveling Exhibition

The itinerant exhibition designkm0.umbria.it, which will be enriched with new proposals each time, is the result of collaboration between ADI Umbria, the Region, and the Municipalities of Spoleto and Deruta.

Francesco Subioli Presidente Delegazione Adi Umbria

Title: Foodesign: Where Culinary Art Meets Theatrical Craftsmanship


The word “piatto” (plate) in our language indicates both the container and its content, almost signaling the identity that exists between food and its presentation. The art of cooking has always included the art of representing it: there is no great chef who does not also concern themselves with the placement and formal organization of their culinary invention. Cooking is an art that intersects with many other arts: numerous examples demonstrate the interference between cooking and the visual arts (one could even hypothesize a history of art from a gastronomic perspective), between cooking and literature (the list of literary menus from novels and stories from every century and country is endless), and between cooking and cinema (the titles of festivals that have played on this association are even too many).

Certainly, the closest kinship is between cooking and theater. Like theater, cooking relies on sensual communication; it is enjoyed with the five senses. The pleasure that food provides is tactile, olfactory, visual: there is no food that is not eaten with the eyes. Like theater, cooking requires its preparation and assimilation times; like theater, it is constructed with a skillful balance of different ingredients, flavors, and colors. Like theater, it benefits from variation and surprise. Like theater, it requires research, experimentation, and technique. And above all, like theater, cooking needs its staging.

It has been understood since ancient times, as soon as food ceased to be a simple response to hunger and became a pleasure, that it is an art. Seventeenth-century treatises on the art of setting the table and arranging dishes and sweets in a surprising way resemble contemporary treatises on stagecraft and make use of complicated machines, much like those used on the stage. All of this is to say how happy the idea of ​​ADI is to create design@km0.umbria.it: foodesign, a comparison between architects and designers in imagining the right dishes for the right recipe, precisely because the expertise suitable for understanding a theatrical art like cooking is that of the architect-scenographer. It is, after all, a widely tested idea, not only from more than a century of industrial design, which has produced dishes that are among the most beautiful and representative objects of our time but also from enlightened experimenters. Gabriele D’Annunzio, for example, when he was not drawing them himself, had plates, fruit bowls, and tea sets drawn by the most fashionable architects of the time – Giò Ponti, Giancarlo Maroni, Giuseppe Lisio – which he used in relation to specific recipes, or the character of the guests, or the color of the day.

From the comparison of designkm0.umbria.it: food design, we expect a great variety of languages ​​and proposals – minimalist, democratic, glamorous, post-modern – but all strictly delicious. The idea of ​​anchoring recipes, and therefore the dishes to propose, to the territory is also appropriate because it is inspired by the consideration of how creativity feeds on environmental and cultural stimuli and how the originality of a work depends on the flavor of a land and a civilization. A value also recognized by the market, if made in Italy, when authentic, still produces economic successes, in addition to contributing to the overall image of the country. Therefore, it is with particular satisfaction that we offer, with Palazzo Leti Sansi in Spoleto, the stage for this first meeting which, we are certain, will nourish that civilization of beauty of which, in our not always refined times, there is a real hunger.

Architect Giorgio Flamini Councilor for Culture of the City of Spoleto

Designers: Mauro Olivieri, Marco Pietrosante, Francesco Subbioli, Francesco Paretti, Alessandro Fancelli, David Mazzocchi
Ceramic Project and Execution: Nicola Boccini

Francesco Paretti ceramica
Francesco Paretti
Mauro Olivieri
Mauro Olivieri
Alessandro Fancelli e Davide Mazzocchi e Nicola Boccini ceramica
Alessandro Fancelli e Davide Mazzocchi
food design adi umbria e nicola boccini
Adi Umbria - tutta la collezione km0
Francesco Subbioli food design in ceramica in collaborazione con Nicola Boccini
Francesco Subbioli
Marco Pietrosante in collaborazione con nicola boccini food design ceramica
Marco Pietrosante

Light Design (2012)

Designers: Ely Rozemberg
Ceramic Project and Execution: Nicola Boccini


Ely Rozemberg tazzina caffè light design ceramico Nicola Boccini
Ely Rozemberg - Tazzina da Caffè
Ely Rozemberg tazzina caffe' light design ceramica con Nicola Boccini
Ely Rozemberg particolare tazzina da caffe'
Composizione tazzine riflettenti in porcellana
Composizione tazzine riflettenti in porcellana, Light Design


“In 2004, I embarked on a research journey exploring the integration of metals with ceramics. Initially, I experimented with various types of metals, in the form of filaments such as copper, kanthal, tungsten, nickel-chrome, platinum, etc., applied directly over or under glaze, resulting in aesthetically intriguing effects. The research took into account the two firing atmospheres, oxidation, or reduction. The contamination of metals varied depending on the duration of the final cooling phase, yielding distinct, repeatable, and aesthetically captivating outcomes.”

Nicola Boccini dettaglio opera in ceramica e metalli
Fili di rame in superficie sopra lo smalto in ambiente riducente
Nicola Boccini dettaglio opera in ceramica e metalli linea formazione ceramica
Fili di rame in superficie sopra lo smalto in ambiente riducente
Nicola Boccini dettaglio opera in ceramica e fili di rame
Terraglia con fili di rame sotto cristallina in ambiente ossidante
Nicola Boccini opera in ceramica con fili di rame e platino linea formazione ceramica
Fili di rame e platino su smalto con nitrato d'argento
Nicola Boccini, dettaglio inserimento rame su porcellana, porcelain veins
Inserimento rame all'interno della porcellana, tecnica: Porcelaine Veins
Nicola Boccini, test dopo cottura del rame, Porcelaine Veins
test dopo cottura del rame dentro la porcellana, Tecnica: Porcelaine Veins


The sculpture “Orvieto Città Unita” is located in the roundabout of Orvieto Scalo (PG) Italy, it was inaugurated on June 9, 2004.

Technical Project: Livio Orazio Valentini
Painting and tecnological research: Scuola d’Arte Ceramica Romano Ranieri, Nicola Boccini and the Artist Livio Orazio Valentini
Installation: Ficola Group
Technical Project: Orvieto Municipality



Livio Orazio Valentini scultura Orvieto ceramica
struttura in acciaio zincato su base di cemento armato
Interno struttura scultura Orvieto
Interno struttura scultura
Interno struttura scultura Orvieto
particolare primo piano scultura
Livio Orazio Valentini scultura Orvieto ceramica
inserimento anelli di rame
Livio Orazio Valentini scultura Orvieto ceramica Nicola Boccini
Fissaggio opere in ceramica sulla struttura
Livio Orazio Valentini scultura Orvieto ceramica Nicola Boccini
Livio Orazio Valentini ispeziona la sua scultura
Livio Orazio Valentini scultura Orvieto ceramica Nicola Boccini
La pittura su ceramica delle sculture realizzate da Livio Orazio Valentini
Livio Orazio Valentini scultura Orvieto ceramica Nicola Boccini tecnica raku
particolare della scultura realizzata in tecnica raku
Livio Orazio Valentini scultura Orvieto ceramica Nicola Boccini
La grande scultura di notte, Livio Orazio Valentini
Livio Orazio Valentini scultura Ceramica Orvieto
la grande scultura in Ceramica di Livio Orazio Valentini