corian book

theCorian

bookDesign & Technical Information

®

www.corian.com www.corian.com

Copyright © 2005 DuPont. All rights reserved. The DuPont Oval Logo, DuPont™, The miracles of science™ and Corian®

are registered trademarks or trademarks of DuPont or its affiliates. Only DuPont produces Corian®.

After more than thirty years of existence Corian® is familiar to

designers, engineers and architects. To make the most of this material in a

world of changing environments, languages and fashions, their task is to

transform material into ‘work’. The art of the past century utilized all

existing materials across all disciplines, breaking away from the traditional

categories of painting, sculpture and architecture. Art has made full use of the

inventions of industry, intertwining the figurative arts, architecture and

design to give rise to installations, to ‘works’ in which languages are

regenerated and interact. We now see alongside the mass and the energy

of a material a third factor being added: information.

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w.c

oria

n.c

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theCorian

bookDesign & Technical Information

®

For your reference, you will find the complete Corian® colour offering printed on the interiour of this book cover.

10299_Corian_E_Cover 08.06.2005 15:34 Uhr Seite 1

* As with fine china, silk clothing & black cars, some of the Colours of Corian® will require specialcare. Dark, heavily pigmented Colours of Corian®

(shown above with an asterisk *), will showscratches, dust and ordinary wear and tear morereadily than lighter, textured colours. We recom-mend that these colours not be used in applicationswhere the surface is exposed to heavy use and con-tact (i.e. worktops). These colours are most suitablefor applications where surface contact is light andfor use as inlays and accent colours. For more infor-mation on selecting the ideal Colour of Corian® foryour application, please consult with yourDuPont™ Corian® representative.

** The colours Coffee Bean and Bees Wax are alsoavailable without veining.

Possible finishes: matte, semigloss, gloss. Differentthicknesses and colours are available according toour special order policy. (A)–(G) indicate pricegroups. Standard dimensions are nominal (12.3 mm).Printed representation of colours may vary fromactual samples.

THE COLOURS OF CORIAN®

(B)1/212.3

inmm

BUTTER CREAM

(C)1/212.3

inmm

SUN*

(E)1/212.3

inmm

MATTERHORN

(E)1/212.3

inmm

CANYON

(A)1/46

1/212.3

inmm

GLACIER WHITE

(B)1/46

1/212.3

inmm

VANILLA

(F)1/212.3

inmm

COCOA BROWN*

(C)1/212.3

inmm

SILT

(C)1/212.3

inmm

OCHRE

(C)1/46

1/212.3

inmm

AURORA

(F)1/212.3

inmm

TUMBLED GLASS

(F)1/212.3

inmm

WHITECAP

(F)1/212.3

inmm

COFFEE BEAN*/**

(C)1/212.3

inmm

BURNT AMBER

(C)1/212.3

inmm

MOJAVE

(B)1/46

1/212.3

inmm

BONE

(F)1/212.3

inmm

ANTARCTICA

(F)1/212.3

inmm

BEES WAX**

(C)1/212.3

inmm

SHALE*

(F)1/212.3

inmm

(C)1/212.3

inmm

MANDARIN*

(F)1/212.3

inmm

SAHARA

(E)1/46

1/212.3

inmm

EVEREST

TERRA

(F)1/212.3

inmm

GRAVEL*

(E)1/212.3

inmm

SEQUOIA

(C)1/212.3

inmm

ADOBE*

(F)1/212.3

inmm

BEIGE FIELDSTONE

(F)1/212.3

inmm

FOSSIL

(E)1/212.3

inmm

MARDI GRAS

(F)1/212.3

inmm

VESUVIUS

(C)1/212.3

inmm

HOT*

(E)1/212.3

inmm

SEASHELL

(F)1/212.3

inmm

OYSTER

(E)1/212.3

inmm

ABALONE

(G)1/212.3

inmm

RUBY*

SUNSET

(E)1/212.3

inmm

POMPEII RED*

(F)1/212.3

inmm

ROSETTA

(E)1/212.3

inmm

PEPPER IVORY

BISQUE

(B)1/46

1/212.3

inmm

(C)1/212.3

inmm

(E)1/212.3

inmm

BLACKBERRY ICE*

(F)1/212.3

inmm

GRAY FIELDSTONE

(C)1/212.3

inmm

LILAC*

(E)1/212.3

inmm

KILIMANJARO

(C)1/46

1/212.3

inmm

SANDSTONE

(C)1/212.3

inmm

LINEN

(C)1/46

1/212.3

inmm

PRIMROSE

(F)1/212.3

inmm

SAVANNAH

(G)1/212.3

inmm

AZURE*

(C)1/212.3

inmm

LAVENDER

(F)1/212.3

inmm

MEDITERRANEAN

(C)1/212.3

inmm

BEACH

(G)1/212.3

inmm

COBALT*

OCEANIC

(C)1/46

1/212.3

inmm

(F)1/212.3

inmm

ATLANTIS

BLUE RIDGE

(B)1/46

1/212.3

inmm

PEACH

(B)1/46

1/212.3

inmm

TEA ROSE

(E)1/212.3

inmm

STORM BLUE*

(C)1/212.3

inmm

(C)1/212.3

inmm

STONE WASHED

(G)1/46

1/212.3

inmm

BLACK QUARTZ*

AQUA

(E)1/212.3

inmm

FESTIVAL

(C)1/46

1/212.3

inmm

(E)1/212.3

inmm

ANTHRACITE*

FLINT*

(B)1/212.3

inmm

BEACH GLASS

(D)1/46

1/212.3

inmm

VENARO WHITE

(C)1/212.3

inmm

GRAPHIC BLUE*

(C)1/212.3

inmm

(E)1/212.3

inmm

BRONZE PATINA*

(E)1/212.3

inmm

SPRUCE

(B)1/46

1/212.3

inmm

SEAGRASS

(B)1/46

1/212.3

inmm

CAMEO WHITE

(F)1/212.3

inmm

BLUE PEBBLE TARRAGON

(E)1/212.3

inmm

PYRENEES

(D)1/212.3

inmm

DAWN BEIGE

(C)1/212.3

inmm

(C)1/46

1/212.3

inmm

MIDNIGHT

CARIBBEAN

(F)1/212.3

inmm

EVERGREEN

(C)1/212.3

inmm

(E)1/212.3

inmm

NIGHT SKY*

MONT BLANC

MALACHITE

(C)1/46

1/212.3

inmm

(E)1/212.3

inmm

MACADAM

(G)1/212.3

inmm

EMERALD*

(C)1/46

1/212.3

inmm

ECLIPSE

(B)1/46

1/212.3

inmm

PEARL GRAY

(F)1/212.3

inmm

(C)1/212.3

inmm

NOCTURNE*

(F)1/212.3

inmm

RAIN FOREST

(C)1/212.3

inmm

MOSS

(C)1/46

1/212.3

inmm

DUSK

PRAIRIE OLIVE*

PLATINUM

(C)1/212.3

inmm

(E)1/212.3

inmm

(F)1/212.3

inmm

10299_Corian_E_Cover 02.06.2005 21:10 Uhr Seite 2

Edition 2005/06

Index

INTRODUCTION Material, Work and Network 5

CASE STUDIES SHOPS The merchandise dream 9

FOOD I eat out 13

HOTEL Guiding star 17

MARINE Inside waves 19

HEALTHCARE We care 21

PUBLIC SPACES Tides, ebbs and flow 23

OFFICE Open language 27

DESIGN No one knows everything… 30

KITCHEN I eat at home 33

BATHROOM Trend source 37

EXTERNAL APPLICATIONS 41

CORIAN® PRODUCTS Sinks and bowls 42

KNOW-HOW Technical information 61

CONTACTS 80

5

The digital revolution is still in progress, impacting

on all areas of life: culture, economics, society

and politics. A widespread convention keeps

the planet tuned to the third millennium AD.

People, work and network all turn to families

of new materials to find an enlarged base.

DuPont™ Corian® is an advanced blend of natural

materials and pure acrylic polymer. It is a material,

an artefact. It is part of the logic of man’s constructed

world, i.e. the “artificial” design dimension, a result

of reflection upon design.

After more than thirty years of existence Corian®

is familiar to designers, engineers and architects.

To make the most of this material in a world of

changing environments, languages and fashions,

their task is to transform material into ‘work’.

The art of the past century utilized all existing

materials across all disciplines, breaking away

from the traditional categories of painting,

sculpture and architecture. Art has made full use

of the inventions of industry, intertwining

the figurative arts, architecture and design to give

rise to installations, to ‘works’ in which languages

are regenerated and interact. We now see alongside

the mass and the energy of a material, a third factor

being added: information. Corian® is aesthetics,

colour and depth. It is strength, reliability and

functional quality. It is information, a message. It is

found all over the world and each sheet is designed

to be perfect. No Corian® can be better than Corian®.

Every person can purchase exactly the same Corian®.

Yet each Corian® is uniquely different and available

in more than 100 colours. Each individual can use it

in his or her own way to create a piece of ‘work’. This

is the material’s value in the network. A network of

individuals. The father of the Web, Tim Berners-Lee

has explained “the people who have constructed the

Internet and the Web really appreciate the value

of the individual and the systems in which he works,

and have a solid knowledge of their own identity,

but also of the common good.”

(Tim Berners-Lee, Weaving the Web)

And now Corian® has entered the fourth decade

of its existence. This book is also a new tool.

A complete resource containing the aspects

of material, emotion, creativity and environment.

A resource-message: graphic design communicates

an aesthetic; architects and designers notice the

connections.

Material, Work and Network

LEFT DETAILED VIEW OF “BEAM”, DESIGN ETTORE SOTTSASS. STRUCTURE IN CORIAN® GRAVEL AND TURKISH BLUE.

CASE STUDIES

7

Everything exists. Everything can be re-designed.

Corian® has existed for over 30 years: an uninterrupted success.

And yet recently it has been acquainted with “a new spring”, a vital leap forward.

Due to the merit of the new colours and new textures that will astound contemporary visual culture.

Due to the merit, above all, of the creativity of the architects and designers that have known how to read,

interpret, utilize and bring Corian® to life with language and new spirit.

9

The merchandise dream

The more precious the merchandise, the clearer the

concept of rarefaction. Open space. Supreme void.

Few objects. Fashion, design, art on display.

Periodically and systematically inspired by the

bazaar of Istanbul, the Chor Bazaar in Bombay and

the hundreds of shopping malls set down like flying

saucers in the cracks between the city and what

used to be the country. All coexist in coherence

because, as Shakespeare reminds us, we are made of

the very stuff of dreams, and dreams do their daily

shopping in both the museum of the minimal

and the temple of the baroque.

Hermann Finsterlin, a German scientist, graphic

artist and architect who designed works in the

1920’s that resemble those built today by Frank

Gehry, says that the maximum knowledge is the

law of the wedding and relativity of opposites:

“The infinite cannot exist without the finite.

Eternal light stops being light.

There is no relativity without the absolute.

There can be no nothing without everything.”

(Giacomo Ricci, Hermann Finsterlin,

Dal “gioco di stile” all’architettura marsupiale).

Both famous and unknown designers experiment

with solutions that are not possible in the domestic-

residential sphere.

This is the ecstasy of merchandise, the theatre

of revived aesthetic tensions, of light, material and

colour. The container that incessantly repeats its

LEFT AND ABOVE SONY STORE, NEW YORK, USA. DESIGN JAMES MANSOUR. COUNTER TOP IN BLIZZARD AND DUNE, DISPLAY IN BACKLIT CAMEO WHITE.

SHOPS

message in emotional symbiosis with the product-

divinity worshipped, contained and displayed

inside it. In the spectacle of merchandise, set design

is a key part of the message.

This is why designers often turn to Corian® as a

leading instrument. Because it is easy to work

with and shape. Both solid and compact, it can

assume a great variety of forms without ever losing

its charisma.

Shops

10

ABOVE AND RIGHT DUGG, OSLO, NORWAY. DESIGN LARS ERNST HOLE. CAMEO WHITE IS USED IN WORKTOPS, TABLES AND CHAIRS, RECEPTION DESK, WALL

CLADDING, ROUND WARDROBE AND ROUND DISPLAY UNITS. BEACH GLASS IN COMBINATION WITH CAMEO WHITE IS USED IN CUPBOARDS.

13

I eat out

It’s a film that gets screened every day.

On weekdays, and even more often at weekends

and on holidays. In the global city people eat out,

morning noon and night. They eat in town or

wherever there is a flow of human beings: airports,

rest stops, small and large stations, on planes

or trains, on ferries and cruise ships.

In the global village our ways of living and eating

have changed; we have less time but the same

appetite, today we need restaurant chains and dining

cars, pizza joints and sushi bars, Mexican taverns

and Indian restaurants. Because one speaks a

language of belonging and preference through food.

The multicultural, the typical, the exotic.

Refreshment pause, replenishing the body.

Socializing. Old faces, new friends.

An ancient, primal, authentic pleasure. Food.

Better still when shared in a convivial atmosphere.

Wherever food is consumed hygiene is not optional;

it must be optimal. Corian® is a material with a

sterling reputation in this area, which is gained

in the healthcare sector. “Mild or spicy” in its

colours, but solid and homogeneous in its

ingredients, Corian® is not a “layer cake” or a

laminate. It is resistant to abrasion and wear. Every

day McDonald’s food outlets the world over use it

when satisfying the appetites of millions.

FOOD

LEFT AND ABOVE HARU SUSHI BAR, NEW YORK, USA. DESIGN CMA ARCHI-TECTURE AND DESIGN. SERVICE COUNTER AND RECEPTION DESK IN BACK-LIT BUTTER CREAM.

POSTO 2 RESTAURANT, TURIN, ITALY. DESIGN UDA. TABLETOP AND BLACKWALL CLADDING IN NOCTURNE. PHOTOGRAPH ALBERTO FERRERO.

Food

14

ABOVE AND RIGHT LE CAB, PARIS, FRANCE. DESIGN ORA-ITO. DJ’S CABIN IN HOT. FLOOR,

TABLES AND FRAMES IN SEATING AREA IN GLACIER WHITE. PHOTOGRAPH JAVIER URQUIJO.

17

Guiding star

Those who travel in time and read the sacred and

profane scriptures will find mention of the first

public shelters: inns, guesthouses and hostels. In

medieval France these evolved into hôtellerie, the

part of a monastery reserved for the sheltering of

travellers and pilgrims, from which evolved hotel.

The hotel has to be visible from afar as a sign to

attract the weary wayfarer.

The first and most fabulous of such signs was the

guiding star, the comet, impalpable, sparkling,

mysterious and beckoning seen by the Magi. So it

is no coincidence that the earliest hotels often had

starry names such as Etoile, Stella d’Oro, which

evolved into Blue Stars for seaside resorts, White

Stars for mountaintop chalets, etc. Even today, the

number of stars that twinkle next to their doors

rates hotels.

After the star and the cross, the most-used variable

for the names of inns and their signs is colour: Black

Rooster, White Horse, Moulin Rouge, Blue Lagoon.

These signs were well-loved and valued not only

for their own sake but for the sense of relief they

conveyed the welcome of a temporary roof, warmth

and comfort. They announced a peaceful place

in which to recapture a part of the intimacy, the

privacy and identity lost in the vastness of the

voyage. Today the movement of people for work

or tourism is a huge part of the planet’s economy

and hotels represent an intriguing design challenge.

Everyone can imagine his or her ideal hotel, ranging

from four rooms to a thousand rooms. There is

always a hotel Plaza de Toros and a Baghdad Café in

the middle of nowhere. There are places that make

you dream of running the city – Hotel du Château –

and city-hotels that run on dreams such as Las Vegas.

Naturally welcoming in its range of colours

and soft touch, Corian® is a trusted servant

of the hospitality industry. Its basic solidity and

ease of installation without visible seams guarantee

easy maintenance and a constantly clean, hygienic

surface. Because it is repairable, Corian® surfaces

conserve their new appearance for a long time,

optimising investment.

LEFT AND TOP RIGHT UNA HOTEL, FLORENCE, ITALY. RECEPTION IN LILAC AND BATHROOM IN NOCTURNE. DESIGN FABIO NOVEMBRE. PHOTOGRAPH ALBERTO FERRERO.

HOTEL

19

Inside waves

Man has an innate curiosity about the sea.

Exotic swell or ripple, waves have always lured

him to adventure and travels in search of virgin

coasts or unknown civilizations. The abyss frightens

and attracts him to explore the depths or hunt for

treasure. Arduous crossings and vicissitudes

endured and narrated by sailors, have always inspired

writers to make romantic associations with man’s

wanderings, guided by the urgent need to

find himself. In this long companionship of man and

sea, navigators of all climes and eras have made

technical innovations in the interaction with their

vessels, leading to the discovery of new ways of living

on or away from the sea. Seeking perfect continuity

with everyday life but always subject to the discipline

imposed by the sea. Comfort and high technology

combine in painstaking studies on how to make the

best, most liveable use of the available space on a

sailboat, yacht or ocean liner. As an ever-inviting

vacation opportunity or as an exclusive image

builder, the seafaring vessel, with or without sails,

represents a sphere of on-going experimentation for

designers and craftsmen in which the billowing tides,

salt and wind produce the quality control verdict.

Corian® is a homogeneous thermoformable

material which can be cut, shaped and joined to

precisely adapt to the spaces typical of life on board

of a ship. Waterproof and impermeable by nature,

Corian® retains its attractive surface even after long

and repeated exposure to sunlight and wind. YACHT BALTIC 73, BOSUND, FINLAND. DESIGN BY R&J DESIGN. DETAIL VIEW OF BATHROOM, TOP IN GLACIER WHITE.

YACHT SANTA LUCIA, DESIGN GROUPE FINOT ARCHITECTES NAVALS. DETAIL VIEW OF KITCHEN TOP IN GLACIER WHITE.

MARINE

LEFT YACHT QUEEN MARY, DESIGN TERENCE DISDALE. VIEW OF THE SHIP OWNER’S OFFICE, DESK AND CEILING PANELS IN BISQUE.

21

We care

The era of fitness that frees the body and its energy

in the battle against the languid tiredness imposed

upon us by the sedentary habits of progress.

The era of unprecedented medical advances.

The era of the break with conventional medicine and

exploration of ancient cultures to find ‘soft’ cures.

The era of the quest for new spiritual horizons from

the Orient. The era of perfect and perfectible health.

The era of science and soothsayers on television.

The era of the natural after the artificial.

The era of care for women, children and the elderly.

The era of care for mankind.

The era of the body-machine and the rejected body.

The era in which the present is more appealing than

the future. In this, our era, health is our most

precious asset, deserving the utmost care!

Corian® also cares in environments connected

with health. DuPont developed and holds patents

for a specific technology: Corian® AB™, an

antibacterial component that functions as

a valuable ally in the battle against infection

and the spread of pathogens.

PHARMACEUTICAL LAB, GLENOLDEN, PA, USA. COUNTERTOP AND PEG BOARD MADE OF GLACIER WHITE.

REHABILITATION INSTITUTE, CHICAGO, USA. DESIGN EVA MADDOX. WALL CLADDING IN CAMEO WHITE AND BONE.

HEALTHCARE

LEFT CAREGGI HOSPITAL, FLORENCE, ITALY. DESIGN WAND SYSTEM. VIEW OF OPERATING THEATRE, WALL CLADDING IN SEAGRASS.

23

Tides, ebbs and flow

Social thinking and urban design find an ideal

connection point in contemporary public spaces.

Places of transit, of concentration, of flow that

stimulate reflection on culture and architecture.

Non-places that put the use and re-use of spaces

and functions to the test. In spite of their variety

of approaches and sizes, all these spaces contribute

to determining the character of the metropolis.

They may be abandoned industrial sites, zones

of transit in the urban fabric, or peripheral zones that

have been enfolded by the city. In most cases they are

macro-objects deeply immersed in the context but

extraneous to the specific place. What they have

in common is the particular sensation of a shared

citizenship. Just consider the museums of the last

few decades, most of which represent a pursuit of

expressive synthesis, that of the local/global dialectic.

The shopping centres that proliferate far from their

places of origin. The airports, no longer just gateways

for the flow of objects and people, but also for the flow

of meanings. If we focus only on civic design – for

example on transport networks or urban furnishings

– we realize it has the difficult task of defining the

relations among all the elements present in the

metropolitan context, a pulsating universe of lights

and people. Advertising structures, halls in offices

and residential buildings, hotel lobbies, waiting areas

in stations, airports, museums, lounges, resting

points, shops, bars, restaurants and supermarkets

form a sophisticated network of materials and

surfaces that bear the impact of the tides of humanity.

Corian® belongs and functions in all these spaces.

It is a question of personality and toughness.

Durability makes Corian® ideal for busy places.

Its flexibility to workmanship and rich chromatic

range encourage the personalization of

environments. Corian® adapts to the dynamics of

context, from the flow of travellers at the check-in

counters of airports to the tides of passengers of

EXE, the Japanese high-speed train. Everything that

runs above, under and around us, and even more

so if it comes into contact with our bodies, our

hands, also runs through our memory. Perhaps this

is why places of transit are so intense, connected,

neural, a metaphor for infinity, in transit within us.

PUBLIC SPACES

LEFT AND TOP RIGHT SELFRIDGES, COFFEE SHOP AREA, BIRMINGHAM, ENGLAND. DESIGN FUTURE SYSTEMS. TABLE TOPS IN BEACH GLASS AND CAMEO WHITE.

Public Spaces

RIGHT MALPENSA AIRPORT, MILAN, ITALY. DESIGN SOTTSASS ASSOCIATI. CHECK-IN DESKS IN GREY CUSTOM COLOUR.

ABOVE DR. PIERRE RICAUD “DISCOVERY” BEAUTY CENTRE, PARIS, FRANCE. DESIGN DOMINIQUE CATEL A.MA. 12 METER-LONG THERMOFORMED WALL,COUNTER AND RECESSED COMPARTMENTS IN PEACH.

24

27

Open language

LAYOUT. SYSTEM. SOFTWARE. FLEXIBILITY.

WORKSTATION. PROJECT. OPEN PLAN. COLOUR.

EXECUTIVE. CABLING. STAFF. IT. MEETING.

INTERACTION. E-MAIL. DESKS. PRIVACY. WOMEN.

MEN. INPUT. LOOKS. PC. FURNISHINGS. MANAGER.

TECHNOLOGY. MOBILE. LOVE. PEOPLE.

It’s the office rap.

It’s an environment where every other word is

in English. Universally. A place where the most

important ideas cannot be seen or touched, but

nurtured. A space where the most precious tool,

it turns out, is still surface – worksurface, desktop,

table, island, wing. Surface on which to rest objects,

telephones, papers, computers and, above all, hands,

arms, thoughts. Surface. “The ‘common table’ is of

great importance for the good results of a conference

or a conversation. When one has to speak to others

without the ‘medium’ of a table, i.e. when between

two or more interlocutors there is nothing more

than a wall of air, so their eyes can be distracted by

the view of legs, the current of understanding

between the speaker and the listener will not be

formed as quickly as in the case of a conversation

LEFT AND ABOVE OFFICE FURNITURE IN GLACIER WHITE. DESIGN MARTIN SZEKELY. COPYRIGHT MARC DOMAGE, COURTESY OF GALLERY KREO.

OFFICE

Office

28

29

Office

across a table. This is why conversation in drawing

rooms, without a table in between, generally proves

to be disjointed and lacking in warmth. If, instead,

you put a dozen people, or thereabouts, around a

table – if possible so that the elbows of one brush

against those of his neighbour, and that there is

an encounter between their feet from time to time,

and attempts are made to repeat the encounter, a

unique atmosphere of sympathy will soon form, and

the speaker will speak more easily and effectively,

the audience will follow the speech in a more

uniform manner, it will be more interested, more

enthusiastic, etc.”

(Carlo Dossi, Note Azzurre, 1912).

Work is mediated by a ‘surface’. So it is best to

have a friendly, solid, beautiful, coloured and

durable one. But hands, arms, machines and

thoughts can leave marks on surfaces. Corian®

stands up perfectly. It is compact, homogeneous,

non-porous and impenetrable by liquids and

germs. It can be cleaned very quickly and cuts or

scratches can be made to vanish without a trace.

LEFT AND ABOVE STUCCHI OFFICES, LECCO, ITALY. DESIGN MASSIMO FUCCI. WALL CLADDING AND RECEPTION DESK IN LILAC, EVEREST AND BLACKQUARTZ, ELEVATOR WALL SURROUND IN LILAC, SUN AND BLACK QUARTZ.

30

No one knows everything;everyone knows something.

Design is the language of people through things.

The design of objects has taken on absolute

importance. It embraces the entire universe

of things: their aesthetics, their material substance,

graphic expression, techniques of existence and

communication. A virtual being relating to the

beholder and through which, in turn, we can relate.

Design has an impact on all human beings, from

birth to death. Good designers are scattered

everywhere: in every continent, state, region,

metropolis and town. As in other disciplines –

medicine, physics, computer science, etc. –

no one expert knows everything in his field, yet

everyone knows something. Therefore a new door is

opened. Communication technologies serve, not

only to move masses of information but also to help

us to think together. Previously it wasn’t possible to

connect: here, anywhere, immediately or

permanently. Now it is. Unlike natural resources,

ideas are never depleted. Nothing is, everything

becomes. Everything already exists; (almost)

everything needs to be redesigned. Almost anything

that can be conceived can be produced. In the past,

matter was perceived in terms of two aspects.

The aspect of mass volume, inertia or weight as

MARC NEWSON LAMPS “DIODE”, MADE IN HOT, MANDARIN AND SUN.

DESIGN

31

WALL IN CAMEO WHITE WITH INTEGRATED FIBRE OPTICS PROJECTING IMAGES IN MOTION. DESIGN RON ARAD.

architects know so well. Then with the onset of

the modern age, came the aspect of energy.

Today matter is still mass, it is still energy but it

is also information.

Stone is information, Corian® is information.

In interior and industrial design with Corian®,

designers can work with a new material that is

both precious and technological at the same time.

“Aesthetical and technological” are the keywords

of a design project that includes Corian® in

its materials. Curves, sharp corners and organic

forms can be created with a chromatic continuity

that only Corian® allows.

“OH VOID 2” CHAIR IN MANDARIN, DESIGN RON ARAD.

33

KITCHEN

LEFT AND TOP RIGHT PRIVATE HOUSE IN GÖTEBORG, SWEDEN. DESIGN CECILIA HOBIK. KITCHEN WORKTOP AND TABLE IN GLACIER WHITE. PHOTOGRAPH B. BREITHOLZ.

I eat at home

In Italian the word ‘cucina’ means:

1. A room specially equipped for the preparation

and cooking of food. The cabinets and appliances with

which a kitchen is furnished.

2. The act of cooking. How foods are prepared.

3. The foods themselves.

4. The stove or range for the cooking of foods.

Kitchen/cuisine/cucina are therefore a flexible

universe of connotations and overtones.

A variegated panorama of moods and uses.

It is one of the spaces that characterize us and is

inevitably characterized by us in return.

Only a kitchen speaks so eloquently of our personal

rapport with the home, with ourselves, with others

and, of course, with food and drink. Styles, colours

and forms allow themselves to be disciplined

by the dictates of current interior design.

At the same time they are influenced by gastronomic

traditions and personal preferences. Technological

evolution and new materials make it possible to

express your own idea of function, quality and

interpretation of imperative flexibility.

Combinations and juxtapositions become playful

design puzzles for the homes of singles, couples

and families. From the minimalism that conceals

everything in the purity of line, to the full-exposure

solution where dishes, pots, pans and containers

remain on proud display on open shelves. From the

bar-kitchen crammed into a space in the living area

to the classic roomy kitchen where counters, tables

and wings offer ample space for many activities,

even social entertaining. From the new concept

of counters with combined uses, to the

multi-accessorized laboratory, a separate island

or a space furnished with systems that adapt

to other living spaces, in all cultures the kitchen

is one of the foundation elements of the home.

An object of attraction and desire.

Corian® permits the assembly of sinks, tubs,

counters or wall panels, without visible seams,

increasing the ergonomic and hygienic quality of

kitchen design. The variety of colours and textures

facilitates combinations with other materials,

in harmony with the different personal needs and

aesthetic statements of architect and homeowner.

Kitchen

34

NOMIS KITCHEN BY DADA. DESIGN HANNES WETTSTEIN. TOP AND BASE IN GLACIER WHITE.

PRIVATE APARTMENT IN MILAN, ITALY. DESIGN ANTONIO CITTERIO. CABINETS IN GLACIER WHITE.

35

DOIMO CUCINE, TOP AND INTEGRATED SINK IN CAMEO WHITE.

Kitchen

37

Trend source

In public venues, hotels and the home, no space has

changed as rapidly and so radically as the bathroom.

Over the last ten years the Roman balneum, the old

English tub bath, has been transformed from a rather

gloomy, Victorian subsidiary space to a glamorous

manifesto of trends and lifestyles. Inside the

bathroom we find five dominant processes involving

five different types of equipment: hygiene, waste

technology, physical fitness, psychological well-

being and communication. Hygiene is indispensable

in the bathroom and in public venues it is a sign

of absolute quality. Wall-mounted fixtures are

the most evident manifestation of the new focus

on hygiene. But ‘cold’, spectral hygiene no longer

has any reason for existing. In the bath the human

being is nude, unprotected. It is the only room in

which the body is completely exposed. Yet this

is precisely the space where we traditionally use

cold marble, gelid metal accessories, sharp edges

and blinding lights – all in the name of hygiene.

In fact, we do not focus on the hygiene of the person

but of the room itself. We are not thinking about

comfort of the body as it is cleansed but about the

ease of cleaning the bathroom! Technology has again

made the bath a true showplace, with computers and

remote media to control the functions of tubs,

whirlpool baths, sprinkler heads and shower stalls.

There are bathtubs that rotate and can be gently

raised to a nearly vertical position to ease access

for the elderly or the disabled. There are self-cleaning

toilets and toilets that clean you and dry you.

By now physical fitness has become a ritual.

The bathroom has become a health spa, domestic

gym, intimate lounge, a high-tech remix of different

cultures, from the Scandinavian sauna to the

Japanese wooden tub, to the Turkish bath with

steam and cool water jets. Occidental rhythms and

technologies set off on the voyage of bodily

regeneration and well being acquired from other

cultures. The area of psychophysical well being

represents the most evident change. A mental state

of synesthesia in which visual stimuli such as light,

colour, movement, tactile-acoustic factors such as

surfaces, temperature, water plus other inputs such

as fragrances, essential oils and music contribute

PULSE COLLECTION. DESIGN MARIKE ANDEWEG. VANITY IN GLACIER WHITE.

BATHROOM

LEFT PRIVATE BATHROOM, DESIGN MASSIMO FUCCI. TOP AND WASH BASIN IN VANILLA.

Bathroom

38

PRIVATE HOME, UK. BATHTUB IN GLACIER WHITE.

39

Bathroom

to make the bathroom a cherished environment

of mythical overtones. The trendiest sinks look like

primordial fonts. At times the bathroom also

becomes a place of sharing and intimacy with

a Finnish sauna that generates a bath of “total

warmth”, or a large hot tub for two or more.

This is the New Age bath: “time for yourself”, a

rewarding pause in the hectic pace of modern life.

The bathroom as a refuge or the ultimate playroom,

illuminated in the evening with soft, dimmer-

controlled, coloured light effects.

Finally, the bathroom is communication, information.

There is an audio system, radio or telephone, even a

video screen to watch the market tickers.

The bathroom is no longer a secret, shameful place.

It is revealed and proudly displayed, a status symbol

in public venues and private homes, a proud

statement of wealth, lifestyle, culture and aesthetics.

The bathroom changes and Corian® remains an

ideal material to facilitate the change. Its grand

design, substantial material feel, warm, permanent

aesthetics and reliable performance – constantly

updated by research – make it an integral part

of the evolving concepts. Corian® is hygiene,

technology, fitness, psyche and communication.

PLANIT ‘BLOCK’. DESIGN SIMONE MICHELI. BACKLIT VANITY IN CAMEO WHITE. PHOTOGRAPH MAURIZIO MARCATO.

PRIVATE APARTMENT, MILAN, ITALY. SURFACES IN HOT AND CAMEO WHITE. DESIGN CARLO DONATI.

41

EXTERNAL APPLICATIONS

LEFT AND ABOVE “CROMODURO” STORE FRONT IN CAMEO WHITE, SANTANDER, SPAIN. DESIGN JOSÉ PIRIS.

The Northern and Southern hemispheres of the world are united in

the same whirl, each with its own spin. Every day, many times, we bear

witness to this terrestrial and cosmic event in which solid and liquid come

in to interplay. So let us pay homage to this humble object, this basic

element, the stack of stones, the drinking trough and the fountain.

THE CORIAN® COLLECTION OF SINKS & BOWLS

43

SMALL SINGLE SINKS 47

LARGE SINGLE SINKS 50

DOUBLE SINKS 54

BOWLS 56

44

The basin, an ancient device through which water,

in direct connection with the divinity, perfects the

purifying rite of ablution sacred in so many cultures.

The term ‘lavabo’ is used today in Italy and in France

to indicate the washbasin in the bathroom.

In English the basin is used by celebrants for the

ritual washing of hands. The word comes directly

from the Latin lavabo, literally ‘I will wash’, the

initial word of the phrase “Lavabo inter innocentes

manus meas” (“I will wash mine hands in

innocence”, Psalm 26) spoken by the priest as he

washes his hands. The same Latin word indicated the

cruet containing the water itself; it then came to be

used for the basin in the sacristy and then, in the

second half of the 1500s, it evolved into the French

term ‘lavabo’, meaning washstand and often also

toilet. Subject to the domestic dynamic of fluids and

their daily turbulence, today’s kitchen sink and

bathroom washbasin represent the mute whirlpools

in which we wash everything that is washable.

It is no coincidence that we do not wash our entire

selves in the washbasin but only parts of us.

I WILL WASH

45

In fact, in all its countless contemporary versions,

this product remains in the size category of the ‘arm’.

In other words, it is one of those objects you can

hold in your arms but not in your hands, while

it is too small to contain your body.

As a result the design of these localized objects is

a difficult task, an incessant exercise in constant

evolution. Falling into three major lines of use –

washing of food, washing of hands, washing of

things – the design problems involved are similar

yet clearly distinct. Among the most evident design

guidelines for today’s bath environment, we find

the anthropometrical aspects that facilitate washing,

such as a wraparound border for the sink and greater

attention to the design of the drain and the overflow

drain. No longer just holes but seen as integral parts

of the object. With its image as a small font, the

sink-washstand underlines the visual qualities of

water and the calm simplicity of everyday hygiene.

Increasingly its borders are extended, or it is inserted

into seamless counters on which objects for

grooming can be placed. There may also be a small

rough-textured area for soap.

In the kitchen, measurements range from minimal

to professional, with a larger volume achieved by

vertical walls and minimum-radius corners and

special attention paid to large drain openings.

In the laundry room, as well as in nursery facilities,

the sink can achieve the proportions of a small,

elevated bathtub where a young child or pet can

conveniently fit and splash away-happily and safely.

Sinks, bowls and washstands are made in Corian®

for all types of needs. Corian® offers the otherwise

unachievable option of inserting sinks into a

counter with the effect of a continuous work

sculpted into a single block of material. The ease of

installation of single or double sinks or a series of

contiguous units, makes it possible to design spaces

that respond to criteria of practicality and multiple

use, alongside highly emotional, individual,

aesthetic values.

Additional sink and bowl styles are available

in all the colours of Corian®. Consult your

local Corian® representative for manufacturers

of sinks and bowls made with Corian®.

46

TH

E C

OR

IAN

®C

OL

LE

CT

ION

OF

SIN

KS

AN

D B

OW

LS SMALL SINGLE SINKS

802 809

857 961 962

804 805 859 871

810 815 816 820

830 831 835

881 901 963 964

850 873 902 958

LARGE SINGLE SINKS

BOWLS

DOUBLE SINKS

47

312 mm

458 mm

226 mm

256 mm

*

401 mm

109 mm 123 mm

809L 323 x W 374 x D 181 mm

COLOUR OPTIONS

Bisque, Bone, Cameo White,

Glacier White, Pearl Gray, Vanilla

MOUNTING OPTIONS : S

Undermount • Seamless

• Classical

Min. width base unit required : any Min. width base unit required : any

802L 312 x W 458 x D 123 mm

TOP VIEW

* overflow

SIDE CROSS-SECTION

TOP VIEW

* overflow

SIDE CROSS-SECTION

COLOUR OPTIONS





• Classical

SMALL S INGLE S INKS

184 mm

323 mm

374 mm

267 mm

*

318 mm

167 mm 181 mm

48

196 mm

346 mm

172 mm

149 mm

*

300 mm

141 mm 155 mm

Min. width base unit required : any

857L 196 x W 346 x D 155 mm

TOP VIEW

* overflow

SIDE CROSS-SECTION

COLOUR OPTIONS



MOUNTING OPTIONS : A/S


• Classical

Bevel Mount • Stepped Down

• Flush


203 mm

120 mm

365 mm325 mm

*

163 mm

130 mm 144 mm

Min. width base unit required : any

961L 203 x W 365 x D 144 mm

TOP VIEW

* overflow

FRONT CROSS-SECTION

COLOUR OPTIONS





• Classical


• Flush

49


365 mm

120 mm

365 mm

*

325 mm

325 mm

170 mm 184 mm

Min. width base unit required : 450 mm

962L 365 x W 365 x D 184 mm

TOP VIEW

* overflow

SIDE CROSS-SECTION

COLOUR OPTIONS





• Classical


• Flush

50

451 mm

400 mm

128 mm

451 mm

*

400 mm

207 mm 222 mm


804L 451 x W 451 x D 222 mm

TOP VIEW

* overflow

SIDE CROSS-SECTION

COLOUR OPTIONS





• Classical

LARGE S INGLE S INKS


COLOUR OPTIONS





• Classical

450 mm

399 mm

128 mm

500 mm

*

449 mm

208 mm 220 mm

805L 450 x W 500 x D 220 mm

TOP VIEW

* overflow

SIDE CROSS-SECTION

51

490 mm

122 mm

390 mm

440 mm

*

340 mm

200 mm 215 mm


859L 490 x W 390 x D 215 mm

TOP VIEW

* overflow

SIDE CROSS-SECTION

COLOUR OPTIONS





• Classical



COLOUR OPTIONS





• Classical

584 mm

223 mm

449 mm

533 mm

*

398 mm

187 mm 202 mm

871L 584 x W 449 x D 202 mm

TOP VIEW

* overflow

SIDE CROSS-SECTION

52

728 mm

235 mm

470 mm

689 mm

*

432 mm

214 mm 229 mm


881L 728 x W 470 x D 229 mm

TOP VIEW

* overflow

SIDE CROSS-SECTION

COLOUR OPTIONS





• Classical



COLOUR OPTIONS





• Classical

166 mm

487 mm

606 mm

559 mm

*

249 mm Ł 263 mm

438 mm

901L 606 x W 487 x D 263 mm

TOP VIEW

* overflow

SIDE CROSS-SECTION

53

244,5 mm

489 mm

365 mm120 mm

*

325 mm

449 mm

170 mm 184 mm


963L 365 x W 489 x D 184 mm

TOP VIEW

* overflow

SIDE CROSS-SECTION

COLOUR OPTIONS




440 mm

132 mm

400 mm440 mm

400 mm

300 mm 325 mm

964L 440 x W 440 x D 325 mm

TOP VIEW

without overflow

FRONT CROSS-SECTION



• Classical


• Flush


COLOUR OPTIONS

Cameo White

Glacier White

MOUNTING OPTIONS : A/SU


• Classical


• Flush

54

475 mm

424 mm

136 mm

111 mm 111 mm788 mm

737 mm

*

350 mm

243 mm

257 mm

350 mm

229 mm 229 mm


850L 788 x W 475 x D 243 mm

TOP VIEW

* overflow

FRONT CROSS-SECTION

COLOUR OPTIONS



DOUBLE S INKS

453 mm

227 mm

400 mm 400 mm

153 mm 295 mm

880 mm

827 mm

**

432 mm

191 mm115 mm

255 mm 534 mm

202 mm130 mm

873L 880 x W 453 x D 202 mm

TOP VIEW

* overflow

FRONT CROSS-SECTION



• Classical


COLOUR OPTIONS





• Classical

55

920 mm

429 mm175 mm

565 mm

227 mm262 mm

870 mm

468 mm380 mm

*

610 mm

307 mm

517 mm

447 mm

258,5 mm

*

257 mm

268 mm253 mm

537 mm

253 mm


Cabinet needs special front to back size.

902L 920 x W 565 x D 268 mm

TOP VIEW

* overflow

FRONT CROSS-SECTION

COLOUR OPTIONS



DOUBLE S INKS

298 mm 201 mm

213 mm 198 mm154 mm

245 mm

958L 610 x W 517 x D 213 mm

TOP VIEW

* overflow

FRONT CROSS-SECTION



• Classical


COLOUR OPTIONS





• Classical

56

470 mm

100 mm

419 mm 381 mm

*

330 mm

135 mm155 mm


810L 470 x W 381 x D 155 mm

TOP VIEW

* overflow

SIDE CROSS-SECTION

COLOUR OPTIONS



BOWLS

568 mm

515 mm 417 mm

112 mm

*

366 mm

156 mm176 mm

815L 568 x W 417 x D 176 mm

TOP VIEW

* overflow

SIDE CROSS-SECTION



• Classical


COLOUR OPTIONS





• Classical

57

505 mm

330 mm450 mm

107 mm

*

277 mm

139 mm 160 mm


816L 505 x W 330 x D 160 mm

TOP VIEW

* overflow

SIDE CROSS-SECTION

COLOUR OPTIONS



BOWLS

430 mm

322 mm374 mm

98 mm

*

267 mm

139 mm159 mm

820L 430 x W 322 x D 159 mm

TOP VIEW

* overflow

SIDE CROSS-SECTION



• Classical


COLOUR OPTIONS





• Classical

58

565 mm

508 mm 394 mm

150 mm *

342 mm

153 mm 170 mm


831L 565 x W 394 x D 170 mm

TOP VIEW

* overflow

SIDE CROSS-SECTION

COLOUR OPTIONS





• Classical

BOWLS

535 mm

402 mm

114 mm

480 mm

*

345 mm

150 mm 170 mm

830L 535 x W 402 x D 170 mm

TOP VIEW

* overflow

SIDE CROSS-SECTION


COLOUR OPTIONS





• Classical

59

BOWLS

140 mm

500 mm

559 mm

420 mm

*

364 mm

170 mm150 mm

835L 559 x W 420 x D 170 mm

TOP VIEW

* overflow

SIDE CROSS-SECTION


COLOUR OPTIONS





• Classical

KNOW-HOW

61

WHAT IS CORIAN®? 62

KEY CHARACTERISTICS Resistant 62Hygienic 62Repairable 62Non-toxic 63Versatile 63Thermoformable 63Translucent 63Workable like wood 63

PRODUCTION 64

BASIC GUIDELINES FOR Sheet sizes and colours 64DESIGNING WITH CORIAN® Sheet optimisation 64

Corian® joint adhesive and Corian® silicone sealant 64DuPont™ Corian® shapes 67Standard thermoformed shapes 67Custom shapes 67

ADVANCED GUIDELINES FOR Substructure 68DESIGNING WITH CORIAN® Thermal expansion 68

Overhangs and supports 68Hobs 68Inlays 68New surface effects with sublimation 69Step-by-step guide to sublimation with Corian® 69Flooring 70

VERTICAL SURFACES Interior wall cladding 70Exterior wall cladding 72

COLOUR SELECTION RECOMMENDATION FOR

EXTERIOR USE 72

FABRICATION Cutting 74Thermoforming 74Seaming 74Sanding 74Finishing 75

INSTALLATION 75

QUALITY NETWORK 75

MAINTENANCE Daily care 76Abuse 76

RECOMMENDATIONS Heat 76Scratches 77Chemical spillage 77

SERVICE CENTRES 77

WARRANTY 77

HOW TO SPECIFY CORIAN® 78

A FINAL NOTE 78

PERFORMANCE PROPERTIES 79

CONTACTS 80

62

Know-how

WHAT IS CORIAN®?

Corian® is a solid surface material made from acrylic resin (PMMA) and a mineral filler

(aluminium tri-hydrate). It is used as a decorative material in a variety of applications

in both commercial and residential environments. Corian® offers design versatility,

functionality and durability. Supplied in sheets and shapes, it can be fabricated, using

conventional woodworking tools, into virtually any design. Both sheets and shapes are

produced via a continuous casting process under strict quality controls. Corian® is the

original solid surface material made by DuPont.

KEY CHARACTERISTICS

Resistant

Since its introduction in 1967, Corian® has proved itself to be a remarkably durable

material that is easy to live with. It cannot delaminate, and stands up well to daily wear

and tear. It resists most of the impact, nicks and cuts that occur in heavy traffic areas.

Corian® has been tested for its mechanical, thermal, electrical and other surface

properties. Results of these specific test results, and details of other physical properties

of Corian®, can be referred to on page 78 in the “PERFORMANCE PROPERTIES” section

of this book.

Hygienic

Corian® is a non-porous material. It is solid through its entire thickness and can be

fabricated with inconspicuous seams, rendering its surface hygienic. Corian® surfaces

do not support the growth of bacteria nor fungi. Corian® has been certified by an

independent laboratory as a hygienic material, according to the international norm

DIN EN ISO 846.

Repairable

Corian® surfaces are renewable. Most damage – such as cigarette burns – can be easily

removed using ordinary abrasive cleansers and a scouring pad, and the surface fully

restored to its original appearance. More serious damage can usually be repaired on-site.

63

Know-how

Non-toxic

Corian® is an inert and non-toxic material. Under normal temperature conditions it

does not emit gases. Corian® benefits from the flame-retardant characteristics of the

mineral filler it contains (aluminium-tri-hydrate). When tested according to the

method NF F 16-101 and burned at 600°C, the material releases mainly carbonic gas and

the smoke generated is optically light and does not contain toxic halogenated gases.

Because of these properties, Corian® is used in public spaces and delicate applications

such as airport check-in counters, work surfaces in hospitals, operating rooms and

intensive-care facilities, and on cruise ships and ferries.

Versatile

Corian® is limited only by our own imagination. Pieces of Corian® can be glued

together inconspicuously to create a seamless look, giving virtually unlimited design

possibilities for surfaces. Long counters, for example, can easily be made in pieces in

the workshop and joined together at the installation site. Edges can be built to look

thicker.

Thermoformable

Corian® can be thermoformed in plywood or metal moulds at controlled temperatures

by hydraulic presses or vacuum tables, allowing the creation of shapes such as bath-

room vanities and other 3D designs. (For more information on thermoforming, see

“FABRICATION” section, page 72).

Translucent

The translucent quality of Corian® is especially striking in the lighter colours and

thinner (6 mm) sheets. Many designers have used this material in the design of lamps.

Light enhances the three-dimensional quality of Corian®.

Workable like wood

Corian® can be fabricated like hardwood, using similar tools. Most Corian® fabricators

were originally trained as carpenters.

64

Know-how

PRODUCTION

Corian® is manufactured by DuPont in the form of sheets and pre-formed shapes in three

plants: USA, Japan and Korea. Corian® sheets are produced on continuous casting lines

and Corian® shapes are produced by polymerization inside metal moulds, using a

continuous manufacturing process.

BASIC GUIDELINES FOR DESIGNING WITH CORIAN®

Sheet sizes and colours

All colours of Corian® are available in 3680 mm length, 760 mm width and 12.3 mm

thickness. About 20 colours are also available in 2490 mm length, 760 mm width and

6 mm thickness. Other widths and lengths are available by special request and require

a minimum order quantity. Dark and highly saturated colours, and sheets with large

particles, are more sensitive. They may require greater maintenance depending on the

application where they are used.

To see our full colour offering please refer to the separate colour chart printed on the

interior of the book cover or a colour brochure.

Sheet optimisation

The final cost of Corian® elements may be heavily influenced by material wastage.

In order to reduce costs, DuPont suggests sheet optimisation be taken into

consideration during the design process. Local Corian® suppliers can advise on

optimisation and feasibility matters.

Corian® joint adhesive and Corian® silicone sealant

Corian® joint adhesive and Corian® silicone sealant are produced in a range of specific

colours to co-ordinate with Corian® sheets and shapes. In order for the DuPont 10-Year

Limited Installed Warranty to apply, Corian® joint adhesive must be used.

65

Know-how

Colour

Name

6 mm Sheet

12.3 mm Sheet

Corian® Joint Adhesive Colour

1st Choice Alternative1st

ChoiceAlternative

Silicone Colour

760 mm

930 mm

760 mm

930 mmC

olo

ur

Code

Pri

ce G

rou

p

Fam

ily

Adobe AD C S — — — Adobe Clear Adobe

Antarctica MT F M — — — Glacier White Cameo White Clear Glacier White

Anthracite AN E L — — — Anthracite Clear

Aqua AQ C S — — Pearl Gray Dawn Beige Clear

Atlantis AT F M — — — Atlantis Clear

Aurora AR C S — — Bone Dawn Beige Clear

Azure AZ G J — — — Dark Blue Jewel Clear

Beach BC C S — — — Bone Dawn Beige Clear Bone

Beach Glass GL B G — — — Beach Glass Clear Beach Glass

Bee's Wax BW F T — — — Bee's Wax Clear

Bee's Wax** BW F Ds — — — Bee's Wax Clear

Beige Fieldstone BF F M — — — Dune Clear

Bisque BI B G — — Bone Clear Bone, Cameo White

Black Quartz BQ G J — — Jewel Nocturne Clear Sierra Midnight

Blackberry Ice BB E L — — — Gravel Clear

Blue Pebble BE F M — — — Blue Pebble Clear

Blue Ridge BG E Su — — — Pearl Gray Dawn Beige Clear

Bone BN B G — — Bone Clear Bone

Bronze Patina BZ E L — — — Bronze Patina Clear

Burnt Amber BA C S — — — Dark Brown Dawn Beige, ClearPearl Gray

Butter Cream BU B G — — — Butter Cream Clear Butter Cream

Cameo White CW B G — — Cameo White Clear Cameo White, Translucent White

Canyon CN E Su — — — Dark Brown Pearl Gray, ClearDawn Beige

Caribbean MC F M — — — Light Green Dawn Beige Clear Light Green

Cobalt CO G J — — — Dark Blue Jewel Clear Sierra Midnight

Cocoa Brown CC F M — — — Jewel Clear Canyon

Coffee Bean CF F T — — — Coffee Bean Clear

Coffee Bean** CF F Ds — — — Coffee Bean Clear

Dawn Beige DB D V — — — Dawn Beige Clear Translucent White

Dusk SD C S Pearl Gray Clear Pearl Gray

Eclipse EC C S — — Dawn Beige Pearl Gray Clear Pearl Gray

Emerald EM G J — — — Dark Green Jewel Clear Sierra Midnight

Everest EV E Su — — Glacier White Cameo White Translucent White, Clear

Evergreen SE C S — — — Dark Green Jewel Clear Light Green

Festival DF E Su — — — Bone Clear

Flint FL C S — — — Flint Clear Flint

Fossil DJ F M — — — Neutral Clear

Glacier White GW A G Glacier White Clear Glacier White

Graphic Blue GB C Ds — — — Graphic Blue Clear

Gravel GV F M — — — Gravel Jewel Clear Gravel

Gray Fieldstone GF F M — — — Gray Fieldstone Clear

Hot DH C D — — — Hot Clear

Kilimanjaro KJ E Su — — — Dawn Beige Dusty Rose Clear

Lavender LV C S — — — Taupe Pearl Gray, ClearDusty Rose

Lilac DL C D — — — Lilac Clear

Linen LN C Su — — — Cameo White Translucent White

Macadam MD F M — — — Gray Fieldstone Clear

Malachite MA C S — — Dark Green Jewel Clear Sierra Midnight

Mandarin DM C D — — — Mandarin Clear

Mardi Gras DG E Su — — — Jewel Nocturne Clear

Matterhorn MH E Su — — — Dawn Beige Bone Clear

Mediterranean MM F M — — — Dark Blue Jewel Clear

Midnight SM C S — — Jewel Nocturne Clear Sierra Midnight

Mojave JV C S — — — Dawn Beige Clear Bone

Mont—Blanc MB E Su — — — Pearl Gray Dawn Beige Clear

Moss MO C Su — — — Moss Clear Moss

= stockable: based on a 12-month order pattern — = not available Additional thicknesses and colours are available according to our special order policy.

Families: D = Design Portfolio; Ds = Design Sierra; G = Genesis; J = Jewel; L = Lustra; M = Magna; S = Sierra; Su = Summit; T = Torrente; V = Venaro

** These colours exist with or without veining. Please specify on your order the desired appearance (with or without veining).

continued overleaf

66

Know-how

Colour

Name

6 mm Sheet

12.3 mm Sheet



ChoiceAlternative

Silicone Colour

760 mm

930 mm

760 mm

930 mmC

olo

ur

Code

Pri

ce G

rou

p

Fam

ily

Night Sky NS E Su — — — Nocturne Clear

Nocturne DN C D — — Nocturne Clear

Oceanic SO C S — — Dark Blue Jewel Clear Sierra Midnight

Ochre OR C S — — — Ochre Clear Ochre

Olive OL C S — — — Olive Clear Olive

Oyster OY F M — — — Neutral Clear Bone

Peach PE B G — — Peach Clear Peach

Pearl Gray PG B G — — Pearl Gray Clear Pearl Gray

Pepper Ivory PI E Su — — — Taupe Dawn Beige Clear

Platinum MP F M — — — Pearl Gray Dawn Beige Clear Pearl Gray

Pompeii Red PP E L — — — Pompeii Red Clear

Prairie PA E Su — — — Light Green Dawn Beige Clear Light Green

Primrose PR C S — — Dusty Rose Clear Dusty Rose

Pyrenees PY E Su — — — Pearl Gray Light Green Clear

Rain Forest MF F M — — — Dark Green Jewel Clear

Rosetta MR F M — — — Dusty Rose Dawn Beige Clear Dusty Rose

Ruby RU G J — — — Jewel Clear Sierra Midnight

Sahara MS F M — — — Bone Dawn Beige Clear Bone

Sandstone SS C S — — Bone Clear Bone

Savannah MV F M — — — Dawn Beige Clear

Sea Grass GS B G — — Light Green Clear Light Green

Seashell EL E Su — — — Bone Translucent White

Sequoia SU E Su — — — Dusty Rose Dawn Beige Clear

Shale SH C S — — — Jewel Flint Clear Shadow

Silt SL C S — — — Silt Clear Silt

Spruce SC E Su — — — Pearl Gray Light Green Clear

Stone Washed SW C S — — — Stone Washed Clear

Storm Blue SB C S — — — Storm Blue Clear

Sun DS C D — — — Dawn Beige Clear

Sunset ST C S — — — Pearl Gray Dawn Beige, ClearDusty Rose

Tarragon TG C S — — — Light Green Clear Light Green

Tea Rose TR B G — — Dusty Rose Clear Dusty Rose

Terra ME F M — — — Dusty Rose Dawn Beige Clear Dusty Rose

Tumbled Glass TU F M — — — Tumbled Glass Bone Clear Tumbled Glass

Vanilla NL B G — — Cameo White Clear

Venaro White VW D V — — Cameo White Dawn Beige Clear

Vesuvius VS F Su — — — Dusty Rose Dawn Beige Clear

Whitecap WC F M — — — Whitecap Glacier White

AB Sheet

Colour

6 mm Sheet

12.3 mm Sheet



ChoiceAlternative

Silicone Colour

760 mm

930 mm

760 mm

930 mmC

olo

ur

Code

Pri

ce G

rou

p

Fam

ily

Cameo White CW B G — — Cameo White Clear Cameo White, Translucent White

FR Sheet (*)

Colour

6 mm Sheet

12.3 mm Sheet



ChoiceAlternative

Silicone Colour

760 mm

930 mm

760 mm

930 mmC

olo

ur

Code

Pri

ce G

rou

p

Fam

ily

Bone FR BN B G — — — Bone Clear Bone

Cameo White FR CW B G — — — Cameo White Clear Cameo White, Translucent White

Dusk FR SD C S — — — Pearl Gray Clear Pearl Gray

Glacier White FR GW A G — — — Glacier White Clear Glacier White

Midnight FR SM C S — — — Jewel Nocturne Clear Sierra Midnight

Pearl Gray FR PG B G — — — Pearl Gray Clear Pearl Gray

Note (*): ask DuPont for reaction to fire performance per national standards

= stockable: based on a 12-month order pattern — = not available Additional thicknesses and colours are available according to our special order policy.

Families: D = Design Portfolio; Ds = Design Sierra; G = Genesis; J = Jewel; L = Lustra; M = Magna; S = Sierra; Su = Summit; T = Torrente; V = Venaro

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DuPont™ Corian® shapes

The ability to create an entire, continuous surface in Corian®, incorporating sinks or

bowls, is one of material’s main advantages. A wide range of DuPont™ Corian® shapes,

made using injection moulds, is available for custom integration with Corian® sheets.

This includes vanity basins in solid colours for bathrooms, and single and double sinks

for kitchens, bars and small wash-up areas, hospitals and laboratories. Seamed under-

mounting and bevel mounting techniques eliminate rims that trap dirt and water,

minimizing cleaning and maintenance costs. Care, maintenance and installation

instructions are included in the packaging. Appropriate accessory products, including

installation hardware, are available through Corian® Quality Network fabricators (For

complete offering, see pages 46-59).

Standard thermoformed shapes

Sinks and lavatories in different shapes and dimensions, made by thermoforming and

glueing together pieces of Corian®, are available in all the colours of Corian®. A number

of independent companies manufacture and distribute these shapes through the

Quality Network. This enables architects and designers to achieve particular aesthetic

effects, such as unbroken colour continuity for an entire worksurface. Thermoformed

shapes made with Corian® and resulting from an additional production process on the

Corian® sheet are not covered by the DuPont Warranty. For the full range of shapes,

please contact your local Corian® fabricator.

Custom shapes

Because of their long experience in Corian® fabrication, most Quality Network

fabricators can make practically any shape specified by designers by thermoforming

and joining Corian® pieces. These custom shapes, however, are not covered by the

DuPont Warranty.

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ADVANCED GUIDELINES FOR DESIGNING WITH CORIAN®

Substructure

12.3 mm Corian® is self-supporting. Perimeter supports are used on the underside of a

Corian® countertop to avoid warping and cracking. The perimeter support strips are

made in moisture-resistant MDF or moisture-resistant plywood. The Corian® counter-

top is glued to the support strips with flexible silicone adhesive. Never screw directly

into Corian®. Internal corners should be rounded.

Thermal expansion

The coefficient of linear thermal expansion for Corian® is 1 mm per meter. A gap of at

least 3 mm should be left at each end of the worktop and filled with Corian® silicone

sealant. When Corian® is joined to other materials (such as glass, steel, or wood) with

different thermal expansion coefficients, an elastic type of adhesive is required to let

parts expand and contract freely.

Overhangs and supports

Any overhang of 12.3 mm Corian® extending more than 300 mm, or of 6 mm Corian®

extending more than 150 mm, must be supported. 12.3 mm Corian® should be

supported every 600 mm; 6 mm Corian® should be supported every 300 mm.

Hobs

The mandatory method for installing square hobs is the high-strength cutout. This

technique is patented by DuPont and is the best and strongest way to avoid cracking

around hobs. Flush-mounted hob units, integrated into a Corian® countertop, are

covered by the DuPont 10-Year Limited Installed Warranty provided the recommended

fabrication and installation guidelines are followed. These guidelines are included in the

Corian® fabrication manual and available on the protected www.corianenterprise.com

website. Corian® fabricators have the necessary knowledge to install any type of hob.

Inlays

Inlaying Corian® with different materials or with different colours of Corian® can

enhance the inherent beauty of the material. Different inlay materials should be

compatible with Corian®. DuPont suggests avoiding large inlays with metals, because

of their high thermal expansion coefficients. Logos can easily be created using inlays

in Corian®.

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New surface effects with sublimation

Known as “image transfer by sublimation”, this technique allows designers to person-

alise Corian® in a completely new way.

The sublimation process consists of transferring images into a sheet of Corian®, so

that – almost like a human tattoo – a permanent image is created within the surface.

The printed Corian® can then be re-polished and thermoformed in the same way as

unprinted Corian®.

By using water-based inks and low-cost equipment readily available via DuPont’s

Quality Network of fabricators, the sublimation process has little impact on the

environment and is cost-competitive versus other printing techniques or inlays. Its

rapid cycle time allows fast turn-around for proofing, sampling and production of

signs, logos, tiles and other design elements.

Image transfer by sublimation is a new tool for communication and creative expression

for designers, engineers and architects.

Step-by-step guide to sublimation with Corian®

Step 1 – Preparing the image to be sublimated

Digital images in various formats (jpg, tiff, etc.) are saved on a computer and

treated with colour management software in order to control their dimensions

and resolution. An image is then printed onto a low absorption paper using

special water-based inks with an ink jet printer. Finally, the printed paper is

placed on the sheet of Corian®, ready to be sublimated.

Step 2 – Transferring the image into Corian®

A heating device, consisting of a silicone membrane and aluminium plate, is

put in contact with the printed paper and Corian®, both of which are heated on

a vacuum table to ensure that the inks vaporise and permeate into the Corian®

matrix. Once the temperature reaches about 180°C, the heat is turned off and

the material cools down to ambient temperature. When the sublimation cycle

is completed, the image on the paper has transferred to the Corian®, and has

actually become a part of the surface.

Step 3 – Cutting and finishing the sublimated Corian® material

The sublimated Corian® material may subsequently be repolished, reprinted

on the opposite side, thermoformed and cut to size.

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Flooring

Corian® can be used as a flooring material in low traffic areas where high abrasion

resistance is not required. Corian® is warm to the touch, making it ideal for bathroom

floors, where people walk in bare feet. This application permits the possibility of

material and colour co-ordination between the floor, walls and vanity tops. The follow-

ing characteristics make Corian® the perfect material for this specific application:

– inconspicuous joints to give the impression of a continuous floor with the option of

a coved connection between the floor and walls;

– decorative inlays in contrasting colours;

– easy maintenance to remove light scratches and surface damage.

Corian® can be installed on any flat surface suitable for tile including dry concrete,

moisture-resistant plywood, water-resistant gypsum board, vinyl or even existing tiled

floors. If the substrate is not solid and uniform, loose parts must be removed and gaps

filled with broken tile and tile adhesive. All surfaces must be steady, horizontal,

perfectly flat and clean. Any residue such as dust, oil or wax must be eliminated before

starting installation. An epoxy adhesive can be used to attach Corian® to the substrate

to allow for expansion. To maximise the slip resistance, especially in wet areas, it is

recommended that the surface is made more rugose by sanding with a 120+ µm grit

paper. When fabricating a floor in Corian®, it is important to avoid trapping uncured

adhesive, which could weaken the flooring system.

VERTICAL SURFACES

Interior wall cladding

An essential factor in any wall-cladding application is that the Corian® sheet must

conform to the dimensions and angles of the existing wall.

Ideal supports for Corian® are:

• Water-resistant gypsum board

• Moisture-resistant plywood

• Moisture-resistant MDF board

• Any sound tile surface

• Plasterboard sheeting

• Master board

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Know-how

In covering old tiles, loose tiles must be removed and gaps filled with broken tile and

tile adhesive. Old tiles should be cleaned with clear denatured alcohol. Surface fixings

must allow for expansion and contraction. There are two types of seams for vertical

applications:

1. Caulked “V” seam

The caulked “V” seam uses colour-matched Corian® silicone sealant. The face edges are

chamfered to form a small “V”.

2. Inconspicuous Corian® joint adhesive seam

The standard Corian® joint adhesive seam can be used on large surfaces to create large

one-piece sections.

Corian®

Corian® reinforcement

Wall

Neoprene or polyurethane elastic adhesive

Standard joint

Neoprene or polyurethane elastic adhesive

Corian®

Wall

Caulked “V” seam

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Know-how

Exterior wall cladding

The design versatility and performance features of Corian® – the availability of

different colours and aesthetics, custom colours, textures and finishes, the ability to

shape and form the material, and its exceptional durability and renewability – have led

a number of architects and designers to use Corian® for exterior applications. These

have included street signage and benches, bus stop canopies and shop facades, and

more recently, even façade cladding. To satisfy this growing interest, DuPont has

developed a testing program to evaluate the potential of Corian® for exterior

applications, Please refer to the local DuPont office for all your questions regarding

commercial or residential building façades.

In general, Corian® offers good resistance to UV rays, but some colours perform better

than others in terms of weather resistance and fading. While the physical properties of

Corian® are not adversely affected by outdoor exposure, surface gloss can be reduced.

Contrast between veining and background colour may be reduced. Slight background

colour changes may be observed over time. These changes can be removed by periodic

sanding, but this refurbishing step is not always practical, as in cases where Corian® is

used for covering large architectural surfaces such as building façades. The table on the

right-hand page shows which colours are most suitable for exterior cladding.

When using Corian® in exterior applications, it is especially important to mount the

material on a substrate or sub-frame using a method that allows thermal contraction/

expansion of the Corian® material. Ask your local supplier about suitable fixing systems.

COLOUR SELECTION RECOMMENDATIONS FOR EXTERIOR USE

To ensure good results when using Corian® in exterior applications, we recommend

following the chart opposite. Originally created for interior use, not all the colours of

Corian® contain UV-resistant pigment, and some are therefore more suitable for

exterior use than others.

The 28 recommended colours below (Group A) offer good colour stability, and will show

only limited fading or discoloration over a period of time. Using the widely accepted

colour variation system, they retain their hue to a range less than 5-10 Delta E94.

To give you an accurate picture of how the colours of Corian® will weather over time,

we have put together this ‘Colour selection recommendations for exterior use’ chart,

which groups the colours according to their performance when exposed in external

environments.

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Know-how

ExtraLights

GlacierWhite*

Antarctica

Everest

Whitecap

VenaroWhite

CameoWhite

Linen

Bisque

Vanilla

Bone

Festival

Beiges

Abalone

Savannah

TumbledGlass

Aurora

Fossil

Beige Fieldstone

Sahara

ButterCream

Mojave

Beach

Kilimanjaro

DawnBeige

Naturals

PepperIvory

Oyster

Seashell

Sandstone

Ochre

Eclipse

Matterhorn

BurntAmber

Silt

Canyon

CocoaBrown

Shale

Bees Wax

Warms

Peach

Tea Rose

Primrose

Sequoia

Terra

Adobe

Rosetta

Sunset

Ruby

PompeiiRed

Vesuvius

YellowGreens

Pyrenees

Tarragon

Caribbean

Olive

Prairie

Moss

Greens

Seagrass

BeachGlass

Spruce

Rain Forest

Evergreen

Emerald

Malachite

Blues

Blue Pebble

Aqua

Blue Ridge

StoneWashed

Storm Blue

Oceanic

Atlantis

Lavender

Medi-terranean

Azure

Cobalt

Flint

Grays

Dusk

Platinum

Mont Blanc

Pearl Gray

Macadam

Gray Fieldstone

Extra Darks

Midnight

BlackQuartz

Night Sky

Nocturne

Mardi Gras

BlackberryIce

Gravel

BronzePatina

Anthracite

CoffeeBean

Brights

Sun

Mandarin

Hot

Lilac

GraphicBlue

COLOUR SELECTION RECOMMENDATIONS FOR EXTERIOR USE

Group A

Good

Group B

Use with caution

Group C

Not recommended

Group D

Interior use only

Group E

Not yet tested

* Glacier White has demonstrated the best performance for external applications.

These colours are expectedto meet architectural

expectations for colourchange of 5 units in

10 years.

These colours may be usedin applications where some

colour change is notobjectionable.

These colours showexceptionally severe

colour change. We do not recommend these

colours for external use.

These colours havedemonstrated extremesensibility to UV rays.

We do not recommend thesecolours for external use.

These colours have not beentested yet. We cannotrecommend them forexternal applications.

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FABRICATION (main techniques)

Corian® is a composite material with the durability of stone combined with the work-

ability of hardwood. It is impossible to cover all fabrication techniques in this book.

However, the following sections describe the most important ones.

Cutting

Corian® is harder than wood. In order to cut a full sheet to obtain the desired pieces,

saws and routers must be powerful enough to work the material properly. Straight

cuts are made with a circular saw with carbide-tipped or diamond-tipped teeth.

Curved cuts are made with manual routers or with numerically controlled routers

(CNC), depending on the number of identical pieces that need to be cut. Rounded

inside corners are routed, in order to discourage cracking. Router bits must be tipped

with tungsten carbide.

Thermoforming

Corian® can be thermoformed in plywood or metal moulds at controlled

temperatures. Corian® should be heated to between 160°C and 175°C before bending is

begun. Corian® may be bent up to an internal radius starting from 25 mm with two-

dimensional thermoforming, depending on the thickness and the colour of the sheet.

Gradual cooling in the mould will prevent residual stresses and give a better result.

Thermoformability differs, depending on the saturation or particle loads in the sheet.

Seaming

All the edges of the pieces to be joined must be straight and square and cleaned

thoroughly, using denatured methylated spirits on a clean white cloth, before

applying adhesive. Two-component Corian® joint adhesive in the appropriate

matching colour should be used to obtain inconspicuous seams – one of the key

features of Corian®.

Sanding

Surfaces are sanded with a random orbital sander following the “North-South, East-

West” direction in small circular motions. Sanding is done in three or four steps with

increasing grades of sandpaper.

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Finishing

The final finish is obtained by buffing the entire Corian® surface with a 3M Scotchbrite®

pad. The finish can be varied from matt to high-gloss, depending on the effect the

designer wants to obtain. DuPont suggests a semi-matt finish, which is the easiest

finish to achieve and lasts the longest. High-gloss finishes tend to dull, especially in

areas of intense use.

INSTALLATION

It is a condition of the 10-Year Limited Installed Warranty Program that a fabricator or

a Quality Network member must provide this service. The quality of the finished

Corian® surface is very influenced by a correct installation. Large Corian® countertops

are usually fabricated in pieces in the workshop and joined on site. This facilitates

transportation and reduces breakage risks.

QUALITY NETWORK

To transform Corian® into designer creations, DuPont has developed a Quality Network

of people who are dedicated to delivering the very best standards of installation and

service. Their primary goal is to ensure that customers are highly satisfied with their

Corian® installations. The members of the Corian® Quality Network are:

– Authorised Corian® fabricators/installers

– Corian® Service Centres

– Warranty Co-ordinators

All members have been trained by DuPont in how to fabricate, install, repair and

maintain Corian® solid surfaces. Quality Network members are also responsible for

applying and fulfilling the 10-Year Limited Installed Warranty Program.

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Know-how

MAINTENANCE

Daily Care

Corian® is easy to clean. Its fresh, hygienic appearance can be maintained by wiping up

spills, grease and stains with a damp cloth and soapy water, using an ammonia-based

“hard-surface” cleaner or a mild cream abrasive cleanser or common household

degreaser, and then wiped dry with a soft cloth. Sinks should be cleaned thoroughly to

remove greasy deposits and stains. Once or twice a week they should be partially filled

with warm water and 1-2 teaspoons of liquid bleach, then left for a few hours or

overnight. To prevent scale build-up from hard water, counters should be damp-wiped

and then dried. In difficult areas, such as around drains or taps, a household lime-scale

remover can be used occasionally.

Abuse

Corian® is inherently “renewable” because it is solid and homogeneous all the way

through. Most damage, including severe impact, heat or chemical damage, can usually

be repaired on-site and the original smooth, hygienic solid surface restored. For

professional sanding of a Corian® work surface, contact your local supplier, who should

be able to refer you to a local Corian® Quality Network Fabricator or Service Centre.

DuPont™ Corian® Quality Network Service Centres are approved by DuPont to do

expert repair work. They can also handle installation work and offer maintenance

contracts to commercial customers to keep their Corian® installations in prime

condition.

RECOMMENDATIONS

Heat

– Always use a heat protection pad, trivet (with rubber feet) or protective sink mat for

hot cookware, or leave cookware to cool on the hob first. Never put hot pans,

particularly cast iron pans, directly onto a Corian® top or in a sink. Excessive heat

can damage any surface.

– Pouring boiling liquids directly into sinks without turning on the cold tap may

damage your Corian® surface.

– Always use the correct-sized pan on the burner and place it centrally. An over-

hanging pan scorches surrounding surfaces.

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Know-how

Scratches

Like all materials Corian® will develop slight abrasion marks in normal daily use. So:

– Never cut or chop on Corian® – it will score the work surface. Use a chopping board

instead.

– Dark, heavily pigmented colours will show scratches, dust and ordinary wear and

tear more readily than lighter, textured colours (for more details, refer to the separate

colour chart printed on the interior of the book cover or a colour brochure).

Chemical Spillage

Accidental spills of strong chemicals (e.g. paint stripper, brush cleaners, metal cleaners,

oven cleaners, cleaners containing methylene chloride, acid drain cleaners, acetone-

based nail varnish removers etc.) should be flushed promptly with plenty of soapy

water to avoid damaging worktops. For nail varnish spills, non-acetone based remover

can be used, and then flushed with water. Undetected or prolonged exposure to chemi-

cals may damage the surface. (Refer to the Corian® spec data sheet, obtainable from

your Corian® supplier, for additional details regarding chemical exposures, cleaning

procedures and general maintenance. In case of exposure outside the specifications

listed in our spec data, the 10-Year Limited Product Warranty will be void, and the

damage handled as a case of abuse.)

SERVICE CENTRES

Service Centres are independent companies operating in a network under an agree-

ment with DuPont. They install Corian®, handle warranty claims quickly and efficiently,

and implement and execute the Corian® Care and Maintenance Program at pre-deter-

mined rates. Their main objective is to provide the highest possible level of customer

satisfaction.

WARRANTY

DuPont offers two levels of warranty protection for Corian®: product and installed.

The Product Warranty is standard for all Corian® products and ensures that they will be

free of manufacturing defects for a period of 10 years after purchase. A higher level of

coverage, the Limited Installed Warranty, is only available when fabrication and

installation is carried out by Corian® Quality Network fabricators. This Limited

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Installed Warranty expands the Product Warranty and also ensures that the fabrication

and installation of the finished product will be free of defects. For further information,

please contact your local Corian® office.

HOW TO SPECIFY CORIAN®

Five points to remember when specifying Corian®:

1 – Specify product manufacturer: Corian® made only by DuPont.

2 – Specify nominal thickness: 12.3 mm for horizontal applications or 6 mm for

vertical applications. For special thickness requests, please contact your Corian®

representative.

3 – Specify exact colour(s) by name: (see separate colour chart).

4 – Specify code references and colours: be sure to specify the exact code references and

colours of bowls and sinks (e.g. 810 A/S Cameo White).

5 – Specify fabrication and installation: to ensure that the fabrication and installation of

your job meets the requirements for the DuPont 10-Year Limited Installed Warranty,

specify that the work be done by a DuPont Authorised Quality Network fabricator.

A FINAL NOTE

This information corresponds to our current knowledge on the subject. It is offered

solely to provide suggestions for your own experimentation. It is not intended,

however, as a substitute for any testing you may need to conduct to determine for

yourself the suitability of our products for your particular purposes.

This information may be subject to revision as new knowledge and experience becomes

available, since we cannot anticipate all variations in the actual end-use of Corian®.

Nothing in this publication is to be considered as a license under which to operate or a

recommendation to infringe any patent right.

79

PROPERTY TEST METHOD TYPICAL RESULTS UNITS *

6 mm sheet 12.3 mm sheet

Density DIN ISO 1183 1.73 – 1.76 1.68 – 1.75 g/cm3 (1)

Flexural modulus DIN EN ISO 178 8920 – 9770 8040 – 9220 MPa (1)

Flexural strength DIN EN ISO 178 49.1 – 76.4 5.1 – 74.0 MPa (1)

Elongation DIN EN ISO 178 0.58 – 0.94 0.76 – 0.93 % (1)

Compressive strength EN ISO 604 178 – 179 175 – 178 MPa (1)

Resistance to impact (spring load) DIN ISO 4586 T11 >25 >25 N (1)

Resistance to impact (ball drop) DIN ISO 4586 T12 >120 >120 cm (1)

Hardness of surface (Mohs index) DIN EN 101 2-3 2-3 (1)

Resistance to surface wear DIN ISO 4586 T6 63 – 75 58 – 63Lost weight

mm3/100 rev.(1)

Resistance to immersion in boiling water

DIN ISO 4586 T12 0.1 – 0.7 0.1 – 0.3 % by weight (1)

Resistance to bacteria and fungi DIN EN ISO 846 Does not support microbial growth (9)

Anti-slip properties with 100 µm DIN 51130:1992-115.8°– do not pass

R9 requirement (6° min)° angle (2)

Anti-slip properties with 120 µm DIN 51130:1992-117.6°– pass


Anti-slip properties with 150 µm DIN 51130:1992-118.1° – pass


Dimensional stability at 20°C DIN ISO 4586 T10 < 0.16 < 0.16 % change in length (1)

Resistance to dry heat -180°C DIN ISO 4586 T8 4/5-slight change 4/5-slight change (1)

Lightfastness (Xenon arc) DIN ISO 4586 T16 >6 >6 Blue wool scale (1)

Toxicity of emitted gases NF F 16-101 Class : F 0 (3)

Heat of combustion NF EN ISO 1716 9.15 KJ/g (4)

Reaction to fire NF Class M2 (5)

Fire classification (Corian®) DIN EN 13501-1:2002 Euroclass C –s1,d0 Euroclass C –s1,d0 (7)

Fire classification (Corian® FR) DIN EN 13501-1:2002 Euroclass B –s1,d0 (7)

Fire behaviour (Corian® FR) DIN 4102-01 Class B1 (8)

Fire tests (Corian®) BS 476 part 6 & 7 Class 1 (7)

Electrostatic surface behaviour DIN IEC 61 340-4-1 >1 x 1012 Ω (3)

(1) test certificate Q IWQ MBL 734 1109785-C from LGA-Germany/03-2004

(2) test certificate BMW 0411048-03 from LGA-Germany/03-2004

(3) test certificate 1163104 from SNPE-France/03-2004



(6) test certificate IWQ-MBL from LGA-Germany/03-2004

(7) test certificate from Warrington Fire research-UK/2002

(8) registration # P-MPA-E-02-571 from MPA NRW-Germany/2002

(9) test certificate 5642219E from LGA-Germany/03/2004

PERFORMANCE PROPERTIES OF CORIAN® PRODUCTS

80

CONTACTS

EUROPE

HEADQUARTERS

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INTERCOVERING N.V.PRINS BOUDEWIJNLAAN 17 UNIT 1B-2550 KONTICHBELGIUMTEL: +32 3 4510948free telephone number(Belgium only): 0800 96666free telephone number(Luxembourg only): 0800 23079

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ICELAND


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DU PONT DE NEMOURSITALIANA S.R.L.VIA A. VOLTA 16I-20093 COLOGNO MONZESE (MI)ITALYTEL: +39 02 25302349FAX: +39 02 25302213free telephone number: 800 876750

NETHERLANDS

CODUAQ DECORATIVE SURFACES B.V.INDUSTRIETERREIN DE BRANDDE STEENBOCK 26NL-5215 S’-HERTOGENBOSCHTHE NETHERLANDSTEL: +31 73 6872010FAX: +31 73 6872019free telephone number: 800 0223 500

PORTUGAL


MATERFUTRUA DR. INOCÉNCIO OSÓRIOL. GODIM NR. 10ZONA INDUSTRIAL DE AVINTESPT-4430-930 AVINTESPORTUGALTEL: +351 22 7877240FAX: +351 22 7877249

RUSSIA

DUPONT RUSSIA LLCBOLSHOY PALASHEVSKY PER. 13 STROENIJE 2RU-123104 MOSCOWRUSSIAN FEDERATIONTEL: +7 095 7972233FAX: +7 095 7972201

SPAIN


SWEDEN


SWITZERLAND

STUDER HANDELS AGIM SCHOSSACHER 12CH-8600 DÜBENDORFSWITZERLANDTEL: +41 1 8231880FAX: +41 1 8231890free telephone number: 0800 554614

UNITED KINGDOM AND IRELAND

MCD MARKETING LIMITEDQUARRY COURTPITSTONE GREEN BUSINESS PARKPITSTONE, NR. TRINGBUCKS. LU7 9GWTEL: +44 1296 663 598FAX: +44 1296 663 599free telephone number(United Kingdom only): 0800 962116free telephone number(Ireland only): 1800 553252

CENTRAL ANDEASTERN EUROPE

HEADQUARTERS

DUPONT CZ S.R.O.PEKARSKA 14/628CZ-155 00 PRAGUE 5CZECH REPUBLICTEL: +420 2 57414203FAX: +420 2 57414150

CZECH REPUBLIC

CORTRADE SPOL S.R.O.DELNICKA 13/514CZ-170 00 PRAGUE 7CZECH REPUBLICTEL: +420 2 66710191FAX: +420 2 20802482

HUNGARY


BANYAI BUTOROK KFTBÉCSI-UT 20/A2085 PILISVÖRÖSVARHUNGARYTEL: +36 26 330341FAX: +36 26 330249

81

POLAND


C.C.I. SP. Z.O.O.UL. ROBOTNICZA 69P-55 090 DLUGOLEKA K/WROCLAWIAPOLANDTEL: +48 71 3152015FAX: +48 71 3467831

RUSSIA

DUPONT RUSSIA LLCBOLSHOY PALASHEVSKY PER. 13 STROENIJE 2RU-123104 MOSCOWRUSSIAN FEDERATIONTEL: +7 095 7972233FAX: +7 095 797 2201

ACRILICAZAVODSKAYA STREET 2A141400 KHIMKIRUSSIAN FEDERATIONTEL/FAX: +7 095 7930922

PSP FARMANSESLAVINSKAYA 6A121 309 MOSCOWRUSSIAN FEDERATIONTEL: +7 095 7805550FAX: +7 095 7868927

MIDDLE EAST AND AFRICA

HEADQUARTERS

DU PONT PRODUCTS S.A.P.O. BOX 33718DUBAIUNITED ARAB EMIRATESTEL: +971 4 3211532FAX: +971 4 3211533

ISRAEL

CD KIMYEVI ENDUSTRIYEL URUNLER SANAYIVE TICARET LTD. STIISTANBUL CADDESI ZAMBAK SOKAK NO. 5/AGURPINAR / BUYUKCEKMECEISTANBUL – TURKEYTEL: +90 212 8800526 / 27 / 28FAX: +90 212 8800358

NYGA LTD.28 LECHI STREETBNEI BRAK 51200ISRAELTEL: +972 3 5708877FAX: +972 3 5706268

SAUDI ARABIA

BATIMAT BUILDING MATERIALS LLCP.O. BOX 13913DUBAIUNITED ARAB EMIRATESTEL: +971 4 2820155FAX: +971 4 2820759

GULF ACRYLIC MFG. CO. LTD. (GAMCO)P. O. BOX 5728JEDDAH 21432SAUDI ARABIATEL: +966 2 6693936 / 6694747FAX: +966 2 6695576

SOUTH AFRICA


MARSHALL HINDSP.O. BOX 34367ZA-2043 JEPPESTOWNSOUTH AFRICATEL: +27 11 6242999FAX: +27 11 6242909

TURKEY

CD KIMYEVI ENDUSTRIYEL URUNLER SANAYIVE TICARET LTD. STIISTANBUL CADDESI ZAMBAK SOKAK NO. 5/AGURPINAR / BUYUKCEKMECEISTANBUL – TURKEYTEL: +90 212 8800526 / 27 / 28FAX: +90 212 8800358

UNITED ARAB EMIRATES


ASIA PACIFIC

AUSTRALIA

DUPONT (AUSTRALIA) LTD.P.O. BOX 930NORTH SYDNEY, NSW 2059AUSTRALIATEL: +61 2 99236111FAX: +61 2 99236011

CHINA

DUPONT HOLDING CO. LTD.CHE GONG MIAO INDUSTRIALAREA DISTRICT NO.5SHENZHEN, 518040 GUANGDONGPEOPLE’S REPUBLIC OF CHINATEL: +86 755 83307848FAX: +86 755 83307047

INDIA

E.I. DUPONT LTD.DLF PLAZA TOWER, 8TH FLOORDLF QUTAB ENCLAVE, PHASE IGURGAON 122002HARYANAINDIATEL: +91 124 6359900FAX: +91 124 6540891

JAPAN

DUPONT-MRC CO., LTD.NO.45 KOWA BLDG.15-9, MINAMIAOYAMA 1-CHOMEMINATO-KU, TOKYO, 107-0062JAPANTEL: +81 3 54108550FAX: +81 3 54108501

KOREA

DUPONT (KOREA) LTD.KANGNAM P.O. BOX 759SEOULKOREATEL: +82 2 2225220FAX: +82 2 2225470

SINGAPORE

DUPONT COMPANY (SINGAPORE) PTE. LTD.1 HARBOURFRONT PLACE #11-01HARBOURFRONT TOWER ONESINGAPORE 098633TEL: +65 6586 3688FAX: +65 6272 7494

THAILAND

DU PONT (THAILAND) LTD.P.O. BOX 2398BANGKOK 10501THAILANDTEL: +662 659 4000 FAX: +662 659 4001 /3

NORTH AMERICA

UNITED STATES OF AMERICA

E.I. DU PONT DE NEMOURS AND COMPANYDUPONT SURFACESCHESTNUT RUN PLAZA 721-MAPLE RUNP.O. BOX 80721WILMINGTON, DE 19880-0721USATEL: 800 426 7426

CENTRAL AMERICA

MEXICO

DUPONT S.A. DE C.V.HOMERO 206 COLCHAPULTEPEC MORALESDELEGACION MIGUEL HIDALGO11570 DF MEXICO CITYTEL: +525 722 1223FAX: +525 722 1369

SOUTH AMERICA

ARGENTINA

DUPONT ARGENTINA S.A.AV. MADERO 1020, 3RD FLOOR1106 BUENOS AIRESARGENTINATEL: +54 11 43194310FAX: +54 11 43194354

BRAZIL

DUPONT DO BRASIL S.A.CAIXA POSTAL 263CEP 06454-080BARUERI – SPBRASILTEL: +55 11 7266 8763FAX: +55 11 72668761

Original conceptMario Milizia

Sottsass Associati EEIG Milano

Text byVirginio Briatore

DuPont

Project SupervisorsLene Stosic

Massimo FucciClaudio Greco

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