Gilles de Brock on hand building a CNC to print graphic glazes on ceramic tiles in a highly original design story

Studio GdB, founded by Gilles de Brock and Jaap Giesen in ‘s-Hertogenbosch, The Netherlands, has revolutionized ceramic tile production through the development of a custom-built digital printer. This innovative machine allows for the computer-controlled application of liquid glazes onto ceramic tiles in their biscuit state, resulting in unique and highly customizable designs. The studio's process addresses a previous limitation in finding suitable finishes for their design vision, prompting them to engineer their own solution. This bespoke technology enables them to create a diverse range of patterns and vibrant color schemes, offering endless possibilities for aesthetic expression in tile design. The tiles produced by Studio GdB are characterized by their bold colors and visually complex, almost psychedelic patterns, which evoke a handmade quality despite being digitally fabricated. This blend of precision engineering and artistic flair allows for a broad spectrum of design choices, from subtle and understated to highly intricate and elaborate, catering to various design preferences. The custom printer's capability to accurately apply liquid glazes directly onto the ceramic surface ensures a high level of detail and consistency in each tile, surpassing the limitations of conventional manufacturing methods. The development of this specialized machinery highlights a creative approach to overcoming technical challenges in the design and production of ceramic tiles. By taking control of the manufacturing process, Studio GdB has opened up new avenues for customization and artistic experimentation within the realm of interior design materials. The studio's commitment to innovation has enabled them to achieve desired finishes that were previously unavailable, offering designers and consumers access to truly distinct and personalized tile options for various applications, from staircases to coffee tables and backsplashes. The resulting product line from Studio GdB provides an opportunity for integrating unique and visually striking elements into interior spaces, allowing for highly personalized and dynamic environments. The ability to create seemingly infinite patterns and color combinations means that each project can feature a bespoke tile installation, reflecting individual tastes and design concepts. This innovative method bridges the gap between traditional craftsmanship and modern technology, creating ceramic tiles that are both a functional building material and a work of art. The tiles are suitable for diverse settings, adding a distinctive touch to both residential and commercial projects. #CeramicTiles #DigitalPrinting #CustomDesign #InteriorDesign #StudioGdB #HomeDecor #ArchitecturalSurfaces #GlazeApplication #InnovativeManufacturing

The online tile retailer clé has unveiled its new Artist Cement Collection, a series of handmade encaustic cement tiles. This collection is a collaborative effort, featuring designs from eleven artist studios spanning Europe, South America, and the United States. The curated group of artists, architects, designers, and sculptors includes ALT for Living, Boris Aldridge, Coletivo Muda, Deborah Osburn, Erica Tanov, Gachot Studios, John Whitmarsh, Michelle Weinberg, Ruan Hoffmann, Sarah & Ruby, and Smink Things. The Artist Cement Collection showcases a diverse range of aesthetic styles, moving from bold, graphic geometric patterns to motifs inspired by nature, and even incorporating typography. Each tile is available in 8-inch by 8-inch square and hexagonal formats, offering flexibility in design application. A key feature of these tiles is their pre-polished and pre-sealed finish, which enhances their durability and versatility. This treatment makes them suitable for a wide array of applications, both indoors and outdoors, and for installation on either walls or floors, expanding their potential use in various architectural and interior design projects. Among the featured designs, Coletivo Muda contributes the 'Lagoa' tile, which appears multiple times in the illustrations, highlighting its distinct appeal. Michelle Weinberg's contributions include 'Pattern 1' and 'Pattern 2,' demonstrating a varied artistic approach. Smink Things presents several designs that bear its studio name, indicating a unique and recognizable style. Ruan Hoffmann offers a selection of patterns, including 'Amsterdam Express,' 'Arrow Dynamic,' and 'Bio Circuit,' each bringing a different visual narrative to the collection. Deborah Osburn's 'Manuscript Letters' introduces a textual element, adding another dimension to the tile offerings. Boris Aldridge provides 'Pattern 4' and 'Pattern 5,' showcasing his design philosophy. Gachot Studios also features 'Pattern 4,' suggesting a potentially different interpretation or variation from Aldridge's similarly named pattern. Erica Tanov presents 'Baccio' and 'Jacobson,' contributing unique artistic expressions. Finally, Sarah and Ruby's 'Pattern 5' completes the selection of artists and their designs, ensuring a rich and diverse collection for consumers and designers. The collection emphasizes both artistic expression and practical application. The use of cement as a medium for these artistic designs provides a tactile and durable surface, while the handcrafted nature of the tiles ensures uniqueness in each piece. The curated selection of artists from various global locations brings a wide spectrum of cultural and artistic influences to the collection, allowing for a broad appeal across different design preferences and styles. The collection aims to provide distinctive and high-quality options for residential and commercial spaces, allowing for personalization and artistic flair in surface design. #CementTiles #ArtistDesigned #EncausticTiles #HomeDecor #InteriorDesign #TileCollection #ArchitecturalSurfaces #HandmadeTiles #GlobalArtists

Designers are increasingly moving away from traditional, subdued tiling options, embracing bold colors, unique patterns, and varied textures to create distinctive interior spaces. This shift challenges the conventional use of standard subway tiles in kitchens and bathrooms, encouraging homeowners to infuse their personal style and vibrant hues into their living environments, even on floors. Katie Deedy of Grow House Grow, known for her narrative-inspired wallpapers, has successfully transitioned into designing cement tiles. Her Cuban heritage influenced her desire to create tiles reminiscent of those seen in family photos, but with a contemporary twist. While initially aiming for wallpaper-matching tiles, she adapted her designs to the tile format, exemplified by her cephalopod-inspired Captain Smith tile, which mirrors her best-selling wallpaper. The brand continues to prioritize nature-inspired themes, as seen in their three new tiles and the popular Otomi collection, featuring animal and floral folk art. These tiles are predominantly used on floors but are also gaining traction for backsplashes and walls, creating cohesive, patterned nooks in bathrooms. Artistic Tile, in collaboration with Michael Aram, also presents nature-inspired designs. Their Orchid Dimensional collection, a 2017 Interior Design magazine award winner for Best Wall Covering, combines innovation with natural stone. This collection showcases crystalline white Thassos marble flowers emerging from polished Bianco Carrara marble, offering a sophisticated and seductive aesthetic. Color is a significant trend, with Artistic Tile embracing vibrant palettes and mixed materials in their designs. Rachel Adler, a representative for the brand, highlights their new Fan Club mosaic glass design, which features a captivating blue ombre colorway. This design is suggested for adding a touch of elegance to wet bars or as a striking feature wall. Popham Design’s ceramic tile collection also emphasizes rich colors and playful patterns. Design editors, including Tori Mellott of Traditional Home Magazine, recommend these graphic tiles for entryways, noting their ability to set the mood and convey the homeowner's personality—whether formal, playful, artsy, or busy. Encaustic tiles, in particular, are praised for their individuality in entryways. Elle Decor editor-in-chief Whitney Robinson is particularly fond of India Mahdavi’s pink-driven collection for Bisazza, suggesting it for creating a personalized and cheerful washroom. Robinson argues that while bathrooms are utilitarian, they are also frequently visited spaces that should evoke happiness. Pink tiles, she notes, also have the added benefit of making skin appear radiant. Customization is another growing trend, allowing homeowners to create truly unique tile designs. Sarah Watson, founder of Balineum in England, specializes in small-batch custom orders. Her Hanley collection offers ceramic tiles in a dozen hand-mixed solid-color glazes, and clients can request custom glaze colors to match specific Pantone references, fabrics, or wallpapers. Watson highlights the passion customers have for finding the perfect hue, citing an instance where two brothers requested slightly different shades of blue for their shared bathroom. She suggests arranging custom tiles in graphic patterns like chevron to enhance their uniqueness. For those seeking texture and dimension, Granada Tile’s new Relief collection, launched after extensive development, masterfully combines color with unexpected tactile elements. Melanie Stephens, director of design and marketing, explains that these tiles achieve a tone-on-tone effect by contrasting a highly polished top surface with the matte finish of indented areas. Each pattern is available in four colors from Granada’s 40-color palette, with certain designs, like Tangalle, lending themselves to specific earth and rock tones. Textured tiles are also used to create futuristic and dynamic wall statements. The Tile Shop’s Yara Metal hex ceramic wall tile series, available in metallic black, silver, or white with a 3D geometric pattern, adds a reflective and conversational element. Pittsburgh designer Lauren Levant champions sculptural wavy tiles from Porcelanosa, emphasizing how textured tiles, made from materials like natural stone, porcelain, wood, metal, and glass, can introduce depth and allow light to interact beautifully with the surface. Even the classic subway tile receives a modern update. San Francisco designer Jon de la Cruz, known for the 2017 House Beautiful Kitchen of the Year, recommends Fireclay Tile’s handmade glazed thin brick. These recycled brick tiles offer texture and rich, saturated colors that suit both traditional and modern aesthetics, making them ideal for kitchen backsplashes and fireplace surrounds, adding a subtle patina while maintaining a clean and fresh look. The abundance of colorful and textural tile options makes decorating exciting, with the primary challenge being deciding where to begin. #TileDesign #HomeDecor #InteriorDesignTrends #CementTiles #NatureInspiredDesign #ColorPalette #CustomTiles #TexturedTiles #ModernTiling

Studio RAP, a Dutch architectural practice, has completed an innovative project named 'New Delft Blue' which integrates computational design and fabrication with traditional ceramic craftsmanship. The installation serves as an entrance to a residential building block in Delft, a city in the western Netherlands renowned for its historical blue and white pottery production. The project was developed in collaboration with Dutch ceramics manufacturer Koninklijke Tichelaar and aims to redefine ceramic ornamentation in contemporary architecture. New Delft Blue consists of two large entry gates, each measuring approximately four meters in width, eight meters in height, and twelve meters in depth. These gates are situated at the entrance of the PoortMeesters residential building block, part of the larger Nieuw Delft urban redevelopment project. The design is a modern reinterpretation of traditional Dutch city gates and pays homage to Delft's medieval trading history, enveloping a public staircase while also serving as a visual and functional threshold. The design draws inspiration from the aesthetic principles of traditional Delft Blue porcelain plates, which have evolved from replicating Chinese and Japanese patterns to incorporating Dutch motifs. A consistent feature in these plates is the contrast between intricate, nature-inspired frames and serene, picturesque scenes. Studio RAP translates this concept into the New Delft Blue installation, with the gates acting as three-dimensional frames that feature algorithmically generated, nature-inspired patterns. These patterns are designed to guide visitors from the public area into the semi-public courtyard, symbolizing a transition into an idyllic oasis. Studio RAP utilized algorithmic design to address the manufacturing constraints inherent in creating a large-scale curving surface. The geometric design of the tiles carefully incorporates parameters such as maximum overhang, width, height, depth, shrinkage, and internal support structures. This meticulous approach results in a fluid and sculptural composition that resembles a three-dimensional painting. A translucent blue glaze is applied to the surface of these 3D-printed modules, enhancing their visual impact. The glazing technique accentuates the convex contours with a light blue hue, while the concave sections feature deeper blue glaze pools. This creates a dynamic interplay of colors and textures, reflecting the city's canals and its famous porcelains, and is further enhanced by the contrast with the surrounding earth-toned brickwork. #StudioRAP #NewDelftBlue #3DPrinting #CeramicTiles #Delft #ComputationalDesign #ArchitecturalInnovation #PublicArt #TraditionalCraft

Village Handcrafted Cabinetry, a company based in Lansdale, Pennsylvania, has been creating custom cabinetry and wood products for over three decades. Founded by Joseph Trave, the business specializes in designing, building, finishing, and installing a wide range of custom items, including bathroom vanities, cabinet doors, kitchen cabinets, pantries, and walk-in closets. The company caters primarily to mid- to high-end residential clients, working with designers, builders, remodelers, and a small percentage of retail customers. Joseph Trave's passion for woodworking began at a young age, leading him to establish the company in 2000. Starting from a 400-square-foot garage, the business has expanded significantly to occupy over 60,000 square feet of manufacturing space. In 2003, Trave acquired another local cabinetmaker's business, Village Woodshop, integrating its machinery and employees. The company later moved to Lansdale in 2006, establishing a showroom and a larger production facility. Over the years, the company has navigated economic challenges, including recessions and a pandemic, through the dedicated efforts of its four-person management team, which includes Joseph Trave as CEO, his wife Gina as director of marketing, Gary Marks as director of finance and purchasing, and Jennifer Marks as director of Human Resources/payroll. Village Handcrafted Cabinetry prides itself on its ability to produce custom products entirely in-house. All cabinet construction utilizes mortise and tenon joinery. The company also produces its own moldings, offering an extensive library of 1,200 profiles and the capability to create custom profiles to match existing designs. The manufacturing process incorporates advanced technology, including CNC equipment for both panel processing and solid-wood machining. Automated loaders and unloaders are used with their Stratos 3-axis machining center and Weeke Vantage 2000 CNC processing center, facilitating efficient production of nested panels and raised panel doors. Further technological investments include TigerStop stations for producing stiles and rails, and a miter fold machine for creating precisely joined corners and face frames. For sanding, the company uses a Timesavers multi-head flat sander and an MB Roba Tech sander, which is capable of sanding both flat and profiled parts. A sophisticated dust collection system gathers sawdust, which is then burned to provide heat for the facility during winter, showcasing an environmentally conscious approach to waste management. The company also features an in-house finishing lab, referred to as the “finishing kitchen,” where skilled artisans perform custom color matching. Clients often present complex finishing challenges, and the team meticulously creates samples under bright lights to ensure exact color replication, with both the company and the client retaining a sample for consistency. A newer addition is a small in-house metalworking shop, which handles minor fabrication for items like hoods and floating shelves, ensuring proper separation from woodworking operations for safety. Despite its current 60,000 square feet of production space, the company produces approximately seven to ten kitchens per week and is exploring further growth opportunities, including potential acquisitions or additional facilities. #cabinetry #customCabinets #woodworking #CNCManufacturing #residentialDesign #kitchenDesign #handcraftedLook #productionEfficiency #woodDustCollection

This article highlights an innovative optical illusion integrated into the flooring of a showroom for Casa Ceramica, a tile company located in Manchester, UK. The design creates the visual effect of a large, deep hole in the floor, but it is, in fact, a perfectly flat surface. The primary purpose of this ingenious design is to deter visitors from running through the showroom's hallway, encouraging a slower, more deliberate pace. While the precise reasons for people rushing in a tile showroom are not explicitly stated, it is humorously suggested that the tiles themselves might be so compelling that customers are eager to see them. The owner of Casa Ceramica, Duncan Cook, demonstrated the illusion in a video, initially navigating the seemingly treacherous floor cautiously before revealing its flat nature by walking directly over the 'hole' with ease. A representative from the company explained that the inspiration behind this flooring was to craft an entrance that plays on illusions, aiming to redefine expectations of how tiles can be utilized in design. The design effectively creates a sense of disorientation upon entering the showroom. However, the illusion is directional, meaning it only works when viewed from one specific angle, ensuring that visitors can safely exit the showroom without experiencing the same disorienting effect. The article includes several images and GIFs that visually demonstrate the optical illusion from different perspectives, showcasing its effectiveness. These visuals confirm that the floor indeed appears to have significant undulations and depressions, despite being entirely level. The illusion is achieved through a meticulous pattern and shading of tiles, creating a trompe l'oeil effect that tricks the eye into perceiving depth where none exists. This creative application of tile design not only serves a practical purpose—slowing down foot traffic—but also acts as a memorable and engaging feature for the showroom, leaving a strong impression on visitors. Public reactions to the illusion, as noted in the article, indicate widespread impression and sometimes a sense of unease or vertigo from the convincing visual trick. Comments from individuals suggest that even after knowing it's an illusion, the visual impact can be so strong that it remains difficult to 'unsee' the perceived hole or wavy surface. This feedback underscores the success of the design in achieving its intended effect of both captivating and cautioning visitors. The floor's design exemplifies how artistic creativity and an understanding of perception can be applied to functional spaces to enhance user experience and achieve specific behavioral outcomes. #OpticalIllusion #TileDesign #ShowroomDesign #InteriorDesign #CreativeFlooring #TrompeLoeil #ArchitecturalInnovation #CasaCeramica

Nikki Chu, an interior designer with over two decades of experience, has launched her inaugural tile collection exclusively with The Tile Shop. Despite not having previously designed tiles, Chu leveraged her extensive knowledge of incorporating tiles into various rooms to create a line that reflects her signature “global modernism” aesthetic. Her collection stands out by focusing on organic, impactful patterns rendered in versatile, earthy neutral tones, a departure from the often brightly colored or overly patterned options she found lacking in the market. Chu emphasizes that while vibrant colors are readily available, finding sophisticated neutral patterns has historically been a challenge. The inspiration for Chu's tile collection, much like her previous lines of decorative pillows, bedding, and rugs, is rooted in her global travels. She specifically cites Africa, Indonesia, and Bali as primary sources, drawing from the textiles and cultural patterns observed in bazaars and markets. These elements are then simplified and refined to be palatable for a wide range of decor styles, maintaining a clean, soft, and contemporary feel without an abundance of color, aligning with her brand's established reputation for neutral textures. The collection features three distinct tile designs: Zulu, Tangier, and Luxor. The Zulu ceramic tile is praised for its modern versatility, allowing for various layout configurations—alternating horizontal and vertical patterns—to create eclectic visual texture while maintaining a peaceful, subtly colored aesthetic. Chu is installing this tile in her own home, highlighting its longevity and classic appeal. Zulu is available in Graphite, Pumice, and Cement colorways, all offering quiet, understated hues. Tangier, a porcelain pattern, showcases loose, concentric diamonds that deliver a bold impact. Its hand-drawn quality lends it a timeless simplicity, preventing it from feeling dated. Chu notes that Tangier's patterns are “flowy, easy-to-understand,” and substantial enough to make a statement without being overwhelming. She plans to use Tangier on a lanai floor for a celebrity client, bordered by Zulu tiles, to create a durable, rug-like effect. Luxor comprises ceramic subway tiles designed to complement Zulu and Tangier. These tiles, available in Winter White, Cement, and Pumice, feature an organic, handmade feel with intentional inconsistencies in texture and slight color variations. Chu’s aim with Luxor was to provide a clean yet artisanal option that enhances the collection's overall aesthetic. Her overarching design philosophy for this collection was to achieve a balance between extremes, creating patterns that are modern and contemporary without being excessively so, thus occupying a “sweet spot” that she intends to build upon in future designs. #NikkiChu #TileDesign #GlobalModernism #InteriorDesign #NeutralTones #PatternedTile #HomeDecor #TheTileShop #CeramicTile #PorcelainTile

Ceramiche Refin, an Italian tile manufacturer established in 1962, has introduced its latest porcelain tile collection named Craft. This new range draws inspiration from the aesthetic of hand-applied cement surfaces, aiming to replicate the unique marks, strokes, and shadows typically found on architectural finishes created manually. The design philosophy behind Craft is to imbue industrial products with an artisanal feel, moving away from a uniformly manufactured appearance to one that suggests handmade origin. The in-house design team at Ceramiche Refin conducted extensive research into traditional craft techniques and the inherent characteristics of cement materials from various sources. This investigative process informed the development of surface patterns that faithfully reproduce the visual effects of hand-troweled cement. The resulting ceramic tiles exhibit a non-uniform aesthetic, characterized by a range of tonal differences, from light to dark shades, and visible brush strokes and tool marks, all of which are hallmarks of materials applied by hand. Craft tiles are engineered from grés porcelain, a material known for its durability and resilience. The manufacturing process involves vitrification, where clay is compacted under hydraulic pressure and then fired in a kiln. This process significantly reduces the material's porosity, rendering the tiles highly resistant to common issues such as stains, scratches, frost, and chemical damage. These robust properties make the Craft collection suitable for a wide array of applications, including both indoor and outdoor installations. To cater to diverse design requirements and spatial dimensions, the Craft collection is available in several sizes. Larger formats, including 120 by 240 centimeters and 120 by 120 centimeters, are specifically designed for more expansive areas such as public spaces and building facades. For smaller areas and residential projects, the collection offers more compact sizes, including 60 by 120 centimeters, 60 by 60 centimeters, and 30 by 60 centimeters. This variety in sizing provides flexibility for architects and designers to integrate the tiles into different scales of projects. Color options for the Craft range are thoughtfully selected to enhance the cement-inspired aesthetic. The collection offers four distinct colors: Rice, Tan, Cloud, and Fog, which span a spectrum from lighter to darker tones. These color choices, combined with the textured patterns, allow for the creation of various moods and atmospheres, from bright and airy to more subdued and earthy environments. Ceramiche Refin leverages state-of-the-art manufacturing processes that integrate advanced surface texture techniques with digital printing. This technological sophistication enables the company to produce contemporary tile collections that are versatile enough for a broad range of design applications. The Craft collection stands as an example of how modern industrial production can be utilized to mimic and celebrate traditional artisanal craftsmanship. Prior to the Craft collection, Ceramiche Refin has launched other innovative tile series, demonstrating their ongoing commitment to design and material exploration. These include a collection inspired by fabric textures, known as Arte Pura, developed in collaboration with Daniela Dallavalle, and a range called Wide, which features patterns of lines and grids that simulate hand-drawn chalk designs. These previous collections, much like Craft, aim to bring unique visual and tactile experiences to ceramic tile surfaces. The Craft collection is positioned as a sophisticated option for those seeking the raw, authentic look of hand-applied cement with the superior performance and versatility of porcelain tiles. #CeramicheRefin #CraftTiles #PorcelainTiles #CementSurfaces #InteriorDesign #ArchitecturalFinishes #TileDesign #MaterialInnovation #HomeDecoration

Heath Ceramics, renowned pottery makers, has introduced 'Mural,' their latest addition to a series of pre-configured tile pattern combinations. The inaugural design within this series is named 'Twill,' which incorporates the 'Little Diamond' shape from their 'Dwell Patterns' collection. This unique pattern is distinguished by its use of six distinct glazes, creating a multidimensional and visually intricate effect. The combination of these glazes is carefully curated to produce a mind-tripping aesthetic, where the interplay of colors and textures adds depth and complexity to the overall design. The Twill pattern is available in eight different color ways, each meticulously designed to offer a dynamic configuration. These color ways integrate both matte and gloss finishes across the six glazes, allowing for a varied sensory experience. The glazes are strategically applied to enhance the multidimensional aspect of the tile, with each color way presenting a unique visual narrative. The inclusion of both matte and gloss elements ensures that the tiles not only offer a diverse visual appeal but also a tactile richness. Among the eight available color ways, several notable options are presented, each with its own distinct character. 'Arctic' offers a cool and serene palette, evoking images of icy landscapes. 'Rhythm' suggests a more energetic and flowing visual, possibly through a harmonious arrangement of colors and finishes. 'Yarrow' likely features a warm and earthy tone, drawing inspiration from natural hues. 'Alabaster' provides a classic, subtle, and perhaps luminous option, indicative of its namesake material. 'Black Walnut' hints at a deeper, richer color scheme, possibly incorporating dark and sophisticated tones. Further options include 'Tide Pool,' which might display a blend of blues and greens, reminiscent of shallow ocean waters. 'Old Growth' could feature colors and textures that evoke ancient forests, suggesting a natural and weathered aesthetic. Lastly, 'Denim' points to a familiar, comforting blue, possibly with a textured finish that mimics the fabric. These diverse color ways demonstrate the versatility of the Twill pattern, allowing it to adapt to various interior design styles and preferences. The introduction of Mural and its Twill pattern underscores Heath Ceramics' commitment to innovation in tile design, blending traditional craftsmanship with contemporary artistic vision. The multidimensionality achieved through the careful selection and combination of glazes and shapes offers a new avenue for interior designers and homeowners to create visually engaging and sophisticated spaces. The article highlights the intricate details and thoughtful design process behind these new tile patterns, providing insight into the aesthetic considerations and technical execution. #HeathCeramics #MuralTile #TwillPattern #TileDesign #InteriorDesign #HomeDecor #MultidimensionalPattern #CeramicGlazes #DwellPatterns

Michael Chandler, the artist and founder of Cape Town-based Chandler House, created a unique, hand-painted, nature-inspired tile installation for a fashion boutique in Miami. The project involved designing a large 'tree of life' motif in blue, adorned with birds, flowers, and a silhouetted climber, which spans the entire facade of the Cult Gaia store. A key element of the design is a ribbon above the entryway bearing the inscription: “May all the doors of the world always be open to you.” The commission began with an unexpected email inquiry from the Cult Gaia brand. Chandler initially found the idea audacious but proceeded with Zoom consultations and email exchanges, eventually leading to his involvement in the project. He executed the artwork in modular sections, meticulously numbering and mapping each tile to ensure a seamless installation on the building's exterior. Chandler was granted significant creative freedom in this collaboration. Drawing inspiration from the ancient world, he developed the 'tree of life' theme, which allowed him to incorporate a diverse array of natural elements including flowers, fruits, birds, and muses. He emphasizes that providing artists with creative autonomy often leads to exceptional outcomes. The aesthetic of the facade incorporates influences from traditional art forms such as Delft Blue pottery, Chinese porcelain design, and early Persian ceramics. Currently, Chandler is engaged in other projects, including a series of small panels for a vineyard located near Cape Town and a coral-themed mural for a family home with ocean views. The artist is particularly drawn to ceramic tile as a medium due to its inherent durability and longevity. He expresses enthusiasm for the idea that his artwork will endure for centuries, potentially bringing joy to future generations long after his lifetime. His work is accessible through the Chandler House website, which showcases his commissions, an art gallery featuring other artists' work, and an online shop. #MichaelChandler #TileArt #PublicArt #CeramicArt #ArchitecturalDesign #MosaicArt #ArtInstallation

This article details the journey of Amy and Bruce Paul in designing and decorating their 11,000-square-foot home in Rye, New York, focusing on integrating their extensive art collection into a cohesive interior design. Having previously lived in a post-modern home with traditional furnishings and a growing contemporary art collection, the Pauls sought to create a new residence where the exterior architecture and interior aesthetics were harmoniously aligned with their personal taste in design and art. Their objective was to construct a home that could comfortably accommodate their family of six while optimally showcasing their practiced and perfected collection of paintings and sculptures. The couple acquired a 13-acre estate in Rye before the 2001 World Trade Center attacks, subdividing it into seven lots and reserving a two-plus-acre parcel for their own home. They collaborated with builder Michael DiChiaro to construct a six-bedroom, seven-full-bath residence that offers views of a wooded yard, later enhanced with a pool and waterfall by Coral Sea Pools, and adorned with bronze sculptures by Mexican artist Bruno Luna. For the interior design, Amy Paul enlisted Joseph R. Stabile of J.R. Cattington, who had previously worked with them. Stabile and his team were involved from the ground up, providing input on architectural design, interior finishes, electrical layouts, and lighting selection. Stabile chose a palette of cream and gold to complement the Pauls' artwork and suggested structural modifications, such as adding a doorway to improve flow in the formal living room. Amy's primary design directive was for a "light and bright" home, which was achieved in the living room through buttery gold satin-striped fabric from Robert Allen for window treatments and crystal wall sconces by Crystorama. This room serves as a gallery for various notable paintings, including works by Janet Treby, Liane Abrieu, and Russian artists. The soft color scheme is accented by silk brocade wing chairs with colorful throw pillows and fuchsia and silk rugs from China. The family room continues the luminous theme with yellow walls, a toile pattern by Antonia Vella, Seabrook wallcoverings, and similarly colored fabrics in lemon, green, and persimmon for window treatments, pillows, and side chairs. Crystal chandeliers from Murano, imported by Castilian Imports, were chosen to coordinate with paintings by Isaac Maimon and Charles Levier. The coffered ceiling in a green apple shade with cream-colored woodwork further enhances the vibrant, garden-like atmosphere. Bruce Paul's personal space, a clubby card room, contrasts with Amy's preferences, featuring dark wood paneling, built-in bookcases, a bar, and masculine fabrics. This room, separated from the family room by a stone-front fireplace, includes Biedermeier chairs with leopard-print fabric and various personal artifacts. Stabile designed the fireplace with intricately carved mahogany lions and used a Serengeti Leopard carpet to connect Bruce’s adjoining office. The Pauls' children, Joanna, Ryan, Matt, and Jason, also contributed to the design of their respective bedrooms and bathrooms, incorporating elements such as Masland Carpets, Bernhardt furnishings, and Thibaut wallpapers. The master bedroom, with its vaulted ceiling, presented a challenge in scale, addressed by Stabile using Highland Court silk brocade for a cornice "headboard" that coordinates with custom curtains. The article highlights the Pauls' passion for art collection, which began with a French artist Charles Levier painting and expanded to include works from their travels to Europe, South America, Asia, and the Southwest. Despite concerns about diminishing wall space, their quest for art, driven by personal connection and memories from their travels, continues. #HomeDesign #InteriorDecor #ArtCollection #LuxuryHome #RyeResidence #JosephStabile #CustomDesign #ArchitecturalFeatures #PersonalStyle

Echo Petersen, founder of E Lee Designs, has found a creative outlet for her artistic passion by creating a variety of home decor and kitchen items featuring unique swirled acrylic paint designs. Petersen's work, which includes handblown coasters, trivets, charcuterie boards, and holiday ornaments, will be showcased at the 605 Made Holiday Market in Sioux Falls. Her designs are characterized by their vibrant colors and intricate patterns, achieved through a technique of blowing acrylic paints with drinking straws onto surfaces like ceramic tiles, wooden cutting boards, and canvases. This method allows colors to remain separate and distinct without blending, resulting in visually striking pieces. Petersen's journey into this craft began after she retired from her career as a financial assistant. Inspired by a set of handblown coasters she encountered during a trip to Fort Collins, Colorado, she dedicated herself to learning and mastering the technique. This involved extensive research through online videos and significant experimentation to develop her own proprietary mix of acrylic artist paints. Her husband, Bryce, supports her endeavors by creating custom oak frames for her canvas pieces. Each item crafted by Petersen undergoes a meticulous, multi-stage process that spans approximately one week. After the initial paint application, the piece requires time to dry and for the paint to cure. Following this, Petersen prepares the item by sanding its back and carefully taping it before applying a resin layer, which then takes an additional three days to dry. This commitment to quality ensures the durability and longevity of her handmade products. E Lee Designs offers a range of items, from small porcelain tile coasters to larger six-inch porcelain trivets and various wooden cutting boards. A particularly popular item that frequently sells out is her bamboo charcuterie board, which features pullout drawers and includes small wooden utensils, all adorned with her signature handblown paint designs. Petersen prioritizes using high-quality materials to ensure customer satisfaction and product resilience. In her creative process, Petersen pays close attention to current interior design trends, specifically monitoring popular colors in furniture and granite countertops. This awareness guides her selection of hues, ensuring her designs complement contemporary home aesthetics. She also incorporates micro powder glitter into her paints to add a subtle shimmer to the finished pieces. Popular color palettes in her collection include gray-beige, purple, and various autumn colors, while her personal favorite combination involves navy blue, moss green, and gold. This will be E Lee Designs' first participation in the 605 Made Holiday Market, though Petersen has previously showcased her work at vendor shows across South Dakota in cities such as Brookings, Pierre, Aberdeen, and Yankton. The 605 Made Holiday Market, an event organized by Knotty Gnome Variety & Salvage, Sew Doggy Boutique, and SiouxFalls.Business, and sponsored by The First National Bank in Sioux Falls and Dakota Business Finance, will feature over 40 makers. It is scheduled for Saturday, December 7, from 10 a.m. to 4 p.m. at Cherapa Place in downtown Sioux Falls, with free admission for attendees. #E Lee Designs #HandmadeDecor #AcrylicPouring #HomeDecor #HolidayMarket #Craftsmanship #ArtisanProducts #SmallBusiness #SiouxFallsEvents

Brooklyn-based ceramicist Devin Wilde, whose work is characterized by geometric forms and influences from classicism, Art Deco, and postmodernism, has rapidly gained recognition since establishing his practice in 2023. Wilde's journey into ceramics was preceded by studies in architecture at Stanford University, followed by roles in digital and user experience design, and woodworking. This diverse background informs his sculptural approach, which he describes as a deeply personal and humanistic process, embracing the inherent fallibility of clay. He states that working with clay helps him appreciate the beauty in imperfection, contributing to his personal growth. His debut collection features vessels and side tables that subtly incorporate structural principles from his architectural and design past. Wilde's creations draw on a rich tapestry of artistic and design movements, imbuing his pieces with a sense of timelessness. This unique aesthetic has attracted significant attention, leading to partnerships with prominent retailers such as Lawson-Fenning and Spartan Shop, and commissions from architects and designers for various projects. Wilde’s artistic method involves the compelling and often delicate arrangement of geometric shapes, serving both ornamental and functional purposes. Many of his vessels, for instance, showcase expansive cylindrical or semicircular containers precariously balanced on small circular discs or coiled feet. These feet are the starting points for elaborate ribs that ascend the sides of the pieces, forming a decorative and structural scaffold. The high relief of these ribs is intentionally designed to interact with light, creating dynamic patterns of light and shadow that enhance the dynamism of each piece. The patterns evident in Wilde’s works echo the rhythmic repetitions found in classical architecture. However, the exaggerated proportions in his designs simultaneously nod to postmodernism, a significant source of inspiration for his visual language. Wilde finds postmodernism's 'cheeky' nature appealing, appreciating its ability to honor classical forms while playfully departing from their strictures. In specific pieces, such as ‘Vessel No. I’ and ‘Vessel No. XI’, his aesthetic transcends postmodern exaggeration, moving towards the serene, almost poetic simplicity reminiscent of sculptures by Constantin Brâncuşi and Isamu Noguchi. He admires the 'alive' quality and biomorphism inherent in their work. Growing up in Brooklyn’s Park Slope neighborhood, Wilde is now developing his second collection, which takes inspiration from the architectural details of Brooklyn brownstones. He captures the unique patterns and elements of these townhouses—such as sawtooth-patterned architraves or crenellated cornices—through photography, focusing on how sunlight interacts with their façades and wrought-iron features. His aim is to blend these local architectural motifs with an even more maximalist Art Deco sensibility. He sees Art Deco as possessing a modern yet detail-rich quality that is both ancient and futuristic. Wilde’s studio, located in Red Hook, Brooklyn, is where he hand-builds his pieces using clay enriched with 'grog,' a granular material that provides structural integrity and a rustic texture. He works with glazes rich in oxides, which achieve an aged, metallic appearance, evoking a sense of antiquity. The studio, described as an extension of his personality and childhood, is a vibrant space where natural light plays a crucial role in his sculpting process, guiding his work as he rarely uses artificial lights during the day. The studio also serves as a hub for stylists and interior designers, fostering a collaborative and social environment. #CeramicArt #DevinWilde #GeometricDesign #ArchitecturalInfluence #Postmodernism #ArtDeco #BrooklynArt #StudioPractice #HandmadeCeramics

The Adagio tile project, designed by Ronan Bouroullec for Mutina, revolutionizes the use of ceramics by transforming individual modules into large-scale, fabric-like wall installations. The term "Adagio," Italian for "slowly," reflects the unhurried and intentional process behind creating these intricate designs. Each ceramic module, simple on its own, interlocks to form complex reticular structures, echoing the texture and visual depth of woven textiles. This innovative application showcases Mutina's manufacturing capabilities and Bouroullec's design ingenuity. The core of Adagio's design lies in its single ceramic module, which measures 2.7 x 30 centimeters. This minimalist form transcends traditional functional constraints of tiles, offering an architectural sleekness. The modules are double-fired as white paste ceramic and then hand-finished to achieve an ultra-glossy surface. This meticulous process ensures a lustrous sheen and a sculptural effect, with all vertical sides of the module fully covered by the glaze. The precise notch on the back of each element is key to their interlocking mechanism, allowing for diverse configurations. Adagio is available in five glossy glazes: Bianco (white), Grigio (gray), Rosso (red), Blu (blue), and Verde (green). To simplify design choices, Mutina also offers five pre-defined color combination sets: Grigio + Blue, Grigio + Bianco, Grigio + Verde, Rosso + Blu, and Rosso + Verde. These combinations ensure harmonious integration within installations, making it straightforward for users to transform ordinary wall spaces into extraordinary artistic statements. The versatility of Adagio allows for endless arrangements, ranging from highly structured and enclosed patterns to more fluid, organic compositions that appear to expand naturally across surfaces. Beyond its aesthetic appeal and innovative design, Adagio embodies Mutina's commitment to environmental responsibility. The base tile body is formulated without Volatile Organic Compounds (V.O.C.) and other hazardous substances, adhering to stringent environmental standards. Furthermore, the product's packaging is designed to be fully recyclable, ensuring that the project's ecological footprint is minimized throughout its lifecycle, from production to eventual installation. The project debuted at the Résonance exhibition earlier this year at the Centre Pompidou in Paris. This exhibition celebrated Ronan Bouroullec's significant contributions to contemporary international design. Adagio was prominently featured as an entire wall installation, serving as a backdrop for other works by Bouroullec for Mutina Editions. This display not only demonstrated the modular system's adaptability but also its capacity to integrate various color palettes and configurations seamlessly. Adagio's inclusion in this prestigious exhibition solidified its impact and led to its acquisition for the Centre Pompidou's permanent collection, underscoring its lasting value in modern design. #RonanBouroullec #Mutina #CeramicTiles #ArchitecturalDesign #WallInstallations #ModularDesign #HomeFurnishings #SustainableDesign #ContemporaryArt

Jolie Ngo, a ceramic artist currently pursuing an MFA at Alfred University, has garnered significant attention for her unique, 3D-printed vessels, which she describes as designed to look like renderings and thrive online. Her work, characterized by blobby, rippled forms, lollipop-like piercings, and oozing glazes, was notably featured at Design Miami and quickly sold out after being highlighted on Instagram by curator Glenn Adamson. Ngo's journey into ceramics began somewhat reluctantly. Initially disliking the traditional long process and glazing aspects of ceramics, she reconsidered the medium after observing the rise of contemporary ceramics and reading Adamson’s 2019 essay, “The Rise of the Hyper Pot.” This essay described a new type of pottery optimized for social media with "eye-popping color, a strong graphic silhouette, just the right balance of weirdness and familiarity," often exhibiting dripping surfaces, crackly finishes, and hyper-pigmented hues. While some artists might shy away from the term "hyper pot," Ngo embraces the challenge of creating work that resonates with digital algorithms. Her creative process involves using Rhino, a 3D-modeling program, to develop shapes and volumes. She then employs a potter bot—essentially a robotic syringe—to 3D-print her designs layer by layer, akin to a coil-pinch pot. Ngo intentionally pushes the material's limits, often creating and firing multiple iterations of a design with subtle tweaks until satisfied. A distinctive feature of her work is the preservation of the potter bot’s fabrication language, specifically the subtle ripples on the surface. She uses stencils and an airbrush to apply thin glazes, ensuring that this inherent texture remains visible, unlike other artists who might obscure it. Ngo views digital fabrication not as an end in itself but as a tool to explore a "post-internet aesthetic," which examines the internet's influence on visual culture both online and in physical spaces. Her approach combines digital precision with an emotional, idiosyncratic sensibility, drawing inspiration from postwar ceramic artist Betty Woodman, known for her association with the Pattern & Decoration movement, which emphasized the complex meanings conveyed by surface. Ngo’s early series, _100 Vases_, exemplifies this experimentation, with each vessel uniquely ornamented to represent her personal journey, including her decision to become sober. The drippy, gloopy glazes on these pieces symbolize her evolving memories and past self. Despite her success, Ngo, at 24, navigates the complexities of newfound fame while still a student. Her current work largely consists of small pieces, as her tools are limited to printing volumes up to 13 inches. She is currently exploring ways to scale up her creations, including a 3D-printed chair, which requires assembling multiple smaller parts. Ngo acknowledges the challenge of balancing experimental artistic development with the demands and opportunities that come with her increasing recognition, expressing a desire to expand her practice without turning down opportunities. #JolieNgo #Ceramics #3DPrinting #HyperPot #DesignMiami #PostInternetAesthetic #Glaze #DigitalFabrication #ArtisticProcess

A tile company named Casa Ceramica, located in Manchester, has installed a unique optical illusion floor in their showroom entrance, which was implemented twelve months prior to this report. The design creates the visual effect of a wavy or sinking floor, despite being entirely flat and stable underfoot. This installation was conceived to demonstrate the diverse applications of tiles and to incorporate an optical illusion theme, which the company successfully achieved. The floor is constructed from porcelain tiles that were custom-cut by Aquacut into over 400 individual pieces. Duncan Cook, the director of Casa Ceramica, meticulously tiled these pieces according to a specific design layout to produce the intended visual effect. The result is a floor that challenges perceptions of stability, making individuals feel as though they might walk unsteadily, even when they are on a perfectly level surface. The unique flooring serves as a distinctive feature for the showroom, aiming to capture the attention of visitors and showcase the company's innovative use of tiling. Beyond the optical illusion floor, the showroom also features walls adorned with quotes, which were created by a local artist named Myro, adding another artistic element to the space. #OpticalIllusion #TileDesign #InteriorDesign #ShowroomDisplay #Manchester #CasaCeramica #FloorArt #ArchitecturalInnovation

Across centuries and diverse cultures, the creation of tiles has consistently involved the baking, coloring, and heat-bonding of clay with various coatings. This ancient craft has endured, with artisan studios today diligently preserving the traditional techniques that produce these durable and decorative claddings. The versatility and inherent qualities of tiles are often underestimated. They exhibit remarkable resilience to high temperatures, offer hygienic, wipe-clean surfaces for walls, and possess a robust ability to form protective layers that can withstand centuries of use. Unlike wood, tiles do not rot; unlike metal, they do not corrode; and they will not ignite when exposed to fire. Beyond their practical attributes, tiles serve as significant decorative elements, reflecting rich cultural heritage. Examples include the intricate geometric patterns found in Islamic architecture, the distinctive Art Nouveau murals of the Parisian metro, and the historically significant hand-painted Azulejos on Portuguese houses. While flat tiles are commonly envisioned, embossed patterns, imprints, and convex tiles designed for curved structures are also prevalent, as seen in the roofs of Chinese pagodas or the tiles adorning 18th-century Swedish stoves and Victorian pillars in British institutions. The methods for tile production have evolved since ancient times. Early techniques involved baking earth directly in the sun and in rudimentary firepits, progressing to more sophisticated kiln structures. Historical records indicate that tiles were molded from clay in Ancient Mesopotamia as early as 4000 BC. The Egyptians developed vitreous glass glazes around 2500 BC, and the Romans created intricate mosaics from thousands of small pieces. Islamic artisans, around the 9th century, enhanced glazes with metals like silver or copper to achieve additional luster. Their handmade process for creating Zellige tiles continues to be practiced today in modern Morocco, where artisanal studios use slim metal frames to shape clay tiles. These tiles are sun-dried, hand-dipped in glaze, fired in ground-dug kiln cavities, and then meticulously hand-chiselled into stars, lozenges, and other geometric forms. The subtle irregularities inherent in this artisanal process contribute significantly to the enduring charm of Zellige tiles, with UK suppliers such as Emery & Cie and Mosaic Factory offering authentic handmade ranges. Following the decline of the Roman Empire, tile production in Europe, outside of Moorish Spain, was not widespread until the Middle Ages. In Britain, medieval tile-making was primarily a rural, seasonal occupation, providing supplemental income for peasants. The process involved digging clay in winter, allowing it to weather until spring, cleaning it of debris, and then hand-pressing the reddish-brown material into wooden frame moulds to create tiles up to 3cm thick. As skills advanced and European influences grew, a white clay layer was sometimes applied over the red base and then scratched away using the sgraffito technique to create decorative effects. Patterns were also impressed into wet clay using hand-carved wooden blocks to produce raised motifs. Tube-lined tiles, popular during the Edwardian era, represent a heritage technique that Balineum preserves at its workshop in Stoke-on-Trent, featuring over 70 designs, five core shapes, and 32 glazes. By the 14th century, specialized workers and centers for tile production emerged across Britain, leading to the development of inlaid tiles. This technique involved filling imprinted patterns with a paler-colored clay slip. During firing, glazes altered the clay colors—red turning to brown and white to yellow—to create a two-toned design, a method still employed by Priory Tiles in Kent for medieval-style tiles. The thoughtful use of tile layout, as demonstrated by projects from studios like Studio Duggan, can effectively blend classic and contemporary aesthetics. #TileMaking #ArtisanCraftsmanship #AncientTechniques #ArchitecturalDecor #CeramicArt #InteriorDesign #CulturalHeritage #HomeDecoration

This article highlights various innovative design pieces from global makers, showcasing a blend of traditional craftsmanship and contemporary materials. The featured designers and studios, hailing from locations such as Brooklyn, Copenhagen, and Ukraine, emphasize unique artistic visions and sustainable practices in their creations. Each piece is a testament to meticulous design and material exploration, ranging from intricate glass sculptures to furniture made from reclaimed materials. The article begins by introducing Reevein Studios, specifically Sara Rosa Oppermann and Alice Soro Cilliara, who create mouth-blown glass sculptures. Their 'Spora' sculpture, available in amber and electric blue, demonstrates the artistic manipulation of glass into fluid forms. Following this, Djivan Schapira's 'Divergent' foyer and low tables are presented, characterized by resin inlaid with bronze wire, offering a modern aesthetic with intricate detailing. Kateryna Sokolova's 'Flock' chair for Noom, featuring an upholstered injection-molded soft-foam body and stained-ash feet, illustrates a combination of comfort and sculptural form. Faina's Victoria Yakusha contributes the 'Sontsehryv' sculpture, which stands out for its sustainable composition. This piece is crafted from Ztista, a proprietary blend of cellulose, clay, flax fiber, wood chips, and biopolymer, reflecting a commitment to eco-conscious design. Streicher Goods, led by Ethan Streicher, showcases a collection of lamps—Archie, Ping Pong, and Drum—fabricated using various stoneware clays, underglazes, mid-range glazes, and sometimes blown glass or 3D-printing processes. These lamps explore diverse material combinations and manufacturing techniques. Mansi Shah of Manu Nanu presents an interlocking vase made of hand-blown borosilicate glass in amber and cobalt-blue, demonstrating a sophisticated approach to color and form in glasswork. Nathan Litera's side table combines natural rope and grand antique marble, offering a textural and material contrast that evokes both rustic and luxurious sensibilities. Astraeus Clarke, by Chelsie and Jacob Starley, features the 'Lenox Small' three-globe light, available in wall sconce and chandelier formats, constructed from powder-coated steel, brass, and glass, indicating a versatile lighting solution. Eduardo Rivas of ERM Studio contributes the 'Materia Digital' cast-aluminum coffee table with a glass top, showcasing a blend of industrial materials with a refined finish. Kiki Goti's 'Belted and Buttoned Up' wall lights, made from aluminum, polished nickel, and steel, exemplify a contemporary and structured lighting design. Feyza Kemahlioglu of Feyz Studio, through Wexler Gallery, introduces the 'Glowing Sentiments' lighting collection, which incorporates hand-blown Murrine glass, brass chain, and Meerschaum, a hand-carved clay mineral, highlighting intricate details and unique material sourcing. Ciara Jade Dockery’s 'Creature Comforts' collection includes a Flokati wool pouf, a Mohair bench crafted from vintage rugs, and a Ply occasional table made of FSC-certified plywood. These pieces emphasize comfort, sustainability, and the repurposing of materials. Matt McKay presents the 'Jib' shearling and lacquer stool, the 'Ahoo' cashmere-upholstered lounge chair, and the 'Cap' resin and lacquer coffee table, all demonstrating a focus on tactile luxury and modern forms. Finally, Michelle McLaughlin of Calyer Ceramics features the 'Sprig' floor lamp, which features a ceramic stoneware base with a handmade glaze and a linen shade, showcasing a handcrafted approach to lighting. #MaterialInnovation #ProductDesign #SustainableDesign #Handcrafted #Ceramics #GlassArt #FurnitureDesign #LightingDesign #InteriorDecor

The increasing adoption of additive manufacturing has expanded the role of 3D printing beyond industrial applications, establishing it as a versatile medium in art studios and various creative fields. This technology facilitates the creation of innovative artistic, conceptual, and cultural works, and has even contributed to the digital preservation and reconstruction of historical artifacts and global heritage sites. While not always the central focus, 3D printing often serves as a crucial supporting tool, enabling designers, artists, and artisans to realize new designs and concepts. A prime example of this collaborative approach is found in the Forma Fabrica collection by industrial designer Nir Neria. This collection reinterprets the traditional porcelain vase by exploring the interplay between different materials and design processes. Neria's method integrates slip casting, a ceramic technique typically used for complex shapes that traditionally relies on plaster molds. However, Neria has modernized this ancient technique by combining it with 3D printing and textiles, resulting in a novel, sustainable, and reusable molding process. The design process begins with computer-aided design (CAD) software, where the vase is rendered in 3D. This digital stage allows for precise definition of each mold component and how they will interlock. Subsequently, these mold components are 3D printed. These printed parts are then integrated with fabric, which the artist sews together. The assembled fabric and 3D-printed elements form the mold, ready for porcelain slip casting. During casting, liquid porcelain is poured into the mold and then drained after a sufficient layer has adhered to the inner fabric walls. Once the porcelain reaches the desired firmness, the mold can be disassembled, and the piece is prepared for firing in a kiln. The use of fabric as a molding material imbues the finished vases with distinctive visual and tactile qualities. The impressions of the cloth's texture, stitching, and folds are visibly transferred to the surface of the vessels, creating an intriguing contrast between the perceived weight and malleability of the material. Furthermore, the application of pigments to the inner fabrics before casting introduces an additional dimension, infusing color that mimics marbling or even denim patterns. A significant advantage of this method is the reusability of the mold. The modular nature of the 3D-printed support structure also allows for extensive customization, enabling the creation of numerous unique shapes and configurations from a relatively small set of initial components. The Forma Fabrica collection exemplifies Nir Neria's commitment to innovative design, with 3D printing and sustainable biomaterials increasingly central to his work. #3DPrinting #AdditiveManufacturing #VaseDesign #CeramicArt #SlipCasting #IndustrialDesign #SustainableDesign #TextileIntegration #NirNeria