Share
Marazzi. Under the Skin is an editorial project celebrating Marazzi’s 90th anniversary, where ceramics become a narrative material, capable of telling the story of spaces and the people who inhabit them.
Within the volume, Una Casa Immaginata — a fantasy villa conceived by British designer Charlotte Taylor — brings to life six environments suspended between reality and imagination, where Marazzi surfaces, colors, and textures create intimate and evocative atmospheres.
In this setting, seven authors and creative studios were invited to share their personal connection with a space in the home, weaving together memories, design reflections, and material inspirations.
In his intimate and personal narrative, Aldo Cibic takes us on a journey through the kitchens he has lived in and imagined, revealing an approach to domestic design deeply rooted in ritual, beauty, and the quality of everyday life.
“I’ve never cooked in my life, not even when I was broke. Some- one else has always cooked for me, or I just went out to eat.
That’s why, in the homes I’ve lived in, I’ve always created a kitchen aesthetic that fit me.
When I lived in a loft in Milan back in the day, I would buy high-quality food and arrange it on textured ceramic slabs I designed myself. I made sure the warm bread didn’t get soggy and that the cheeses, pâtés, and cold cuts were arranged neat- ly to look their best. I also designed triangular, deep bowls so I could mix the salad easily without the leaves flying everywhere. It wasn’t just about the food—it was about enjoying a ritual that aesthetically satisfied me.
Everything was planned with one of my defining traits in mind: laziness. To avoid making an extra trip to the kitchen, I’d pile everything on the table, even if it meant risking it all falling (which happened more than once…). In the 34-square-meter apartment I made for myself in a working-class neighborhood in China, the kitchen was a 180×150 cm space where I could reach everything without moving much. That’s where my kitchen philosophy and my laziness joined forces in the perfect way.
I’ve always sought out the best of the best, whether for my kitchen or other things. For example, I loved Zwilling knives, Alpes stoves—some of the most beautiful stainless steel objects ever made—and the chrome-plated English Dualit toaster, which my wife hated for being impractical. I was also gifted a legendary Frigidaire designed by Raymond Loewy. I’ve always disliked the standard cabinets under the kitchen counter, which I find boring, I prefer cheerful striped curtains instead. I designed a handmade teak breadbasket with Indian architect Bijoy Jain. I love the idea of having my own things. And enjoying them.
What fascinates me about the kitchen is that it’s the part of the house where you can savour the moment in your own time and peacefully cherish all the little rituals, like preparing everything neatly, sitting down to eat, and finally clearing and cleaning. Even when I don’t wash the dishes, I always tidy up right away—as if to restore dignity to the space.
I don’t like kitchens that are only beautiful when they’re empty, and the moment you start cooking in them, they lose their charm because their design doesn’t take into account the joy of living in them. When that happens, you lose the very essence of the kitchen, which should primarily be a place that celebrates the love of food and community. For me, the space can be minimalist or filled with things, but it should always be joyful, with a beauty that reflects what happens within it.
Rediscovering the idea of domesticity has recently reignited my passion for design—not for its own sake, but the quality of life a home generates. The design of an object becomes part of that story, but not the reason for it.
When it comes to surfaces, what interests me most is their sensory quality. I’m personally fascinated by large format sur- faces and ultra-thin panels made possible by Italian technology, allowing for various applications: from the most amazing building facades to sinks for bathrooms and kitchens, not to mention floors and walls for both indoor and outdoor spaces. I’m also interested in softer finishes, the possibility of having three-dimensional decorations, and sophisticated colors. The combination of these qualities allows me to create results that are more in line with my personal taste.
Finally, looking ahead, the kitchen as an environment will evolve along with our awareness of how to change our eating habits—what makes the most sense to consume, with our own health and the planet in mind. It will once again become a space for research and discovery, more in ethical terms than moral ones.” – Aldo Cibic
Contribution: Aldo Cibic
Images: Charlotte Taylor
Floor: Mystone Limestone Sand
Kitchen Island: Crogiolo Lume Black
Kitchen doors, shelvers, kitchen top and chemin: The Top Stone Look Breccia Imperiale
Backsplash: Grande Concrete Look Slow Pomice
Aldo Cibic
Aldo Cibic is an Italian architect and designer. In 1981, as a partner at Sottsass Associati, he was one of the founders of Memphis. With his studio, Cibic Workshop, he works across architecture, interior design, product design, and research, between Italy and China. He has collaborated with some of the most renowned Italian design brands, including Marazzi. Cibic’s works are part of the permanent collections of the Stedelijk Museum in Amsterdam, the Groninger Museum, the Canadi- an Centre for Architecture (CCA) in Montreal, the Victoria and Albert Museum in London, the Italian Design Museum at the Triennale di Milano, and the Centre Pompidou in Paris. He is an honorary professor at Tongji University in Shanghai.