The shape of the radiator, between full and empty spaces.

Close your eyes and imagine a radiator.

Probably the first shape that comes to your mind is a series of tubular elements connected to each other.

The task of a designer of radiators often focuses on modulating the elements and the spaces between them, creating tubes with a round or square cross-section, spacing them out or bringing them closer together, composing them in more or less symmetrical or regular shapes.

In a product like Urbino, the designer worked on fullness and emptiness at the same time: the tubular structure is characterized by straight, clean lines, well defined by a clear frame, but this is accompanied by work on the distances between the elements, irregularly distributed to create spaces in which the eye rests and breathes.

We find the same interplay of distances in a model such as Ragusa, in which, however, the tubular elements have a round cross-section and break out of the confines of their own frame, expanding towards the surrounding space.

Whether it is made up of regular or irregular spaces, softer or squarer elements, the tube structure meets two practical needs: to spread heat over a larger surface area and to offer numerous support points for those who wish to use the radiator as a towel warmer.

But for those who consider the radiator a pivotal element in the design of a room, the classic tubular shape is not the only solution.

Models such as Ischia or Tavolara have flat, full surfaces, on which the eye can rest uninterruptedly, and fit into the room just like a piece of furniture or a painting, decorating it and contributing to its overall chromatic harmony.

Their monolithic form, essential and linear, does not hinder their functionality: the use of matching accessories allows towels and bathrobes to be hung on these models as well, while preserving energy efficiency. The fullness of their structure welcomes and envelops the eye, communicating warmth through its form before its function.

Creating designer radiators means first of all never taking a custom for granted, paying attention to the material that is there, but also to that which is not.