How Spain’s Decocer is taking quality ceramic fashion global

Ceramic District, a brand under the Steuler Tile Group, focuses on providing high-quality, German-made porcelain tiles specifically for architects and interior designers. The company, which originated in Mühlacker, Baden-Württemberg, and has been family-run for four generations, leverages over 150 years of tradition and expertise in stoneware and porcelain tile manufacturing. A video produced by Ceramic District illustrates the journey of raw materials like clay, feldspar, quartz, and kaolin through various manufacturing stages, from initial excavation and mixing in large drums to firing and final stacking. While the video presents a seemingly automated process, the production inherently involves a team of skilled professionals. Ceramic District, launched in 2020, offers a refined selection of authentic materials and supports designers and architects with expert advice for their projects. The brand's product range includes four distinct collections designed to meet stringent quality and aesthetic demands. These collections utilize six-mm-thick porcelain stoneware, which undergoes sophisticated processing to create unique pieces. One such collection, Feuergold, incorporates real 24-carat gold digitally printed onto an anthracite-colored porcelain surface. This application creates a thin film that subtly reveals the original texture of the tile beneath, adding a touch of glamour suitable for luxurious settings like hotels, spas, or high-end residential interiors. The Quarzsprung collection draws its name from a critical phase in ceramic production, the quartz inversion point, where the crystalline structure of quartz changes during heating and cooling. This material behavior is crucial to prevent cracking. The design of Quarzsprung visually interprets the flow of viscous glazes. Stefan Grimmeisen, head of Ceramic District, explains that the design was developed directly within the production context, involving pouring titanium dioxide glaze onto an anthracite background and firing it. Extensive trials led to twelve reproducible patterns. These scanned motifs are digitally printed onto 30x30 cm tiles and sealed with a glassy surface for protection. Intentional slight irregularities like small hollows and grooves enhance the design, which is primarily conceived for wall applications and creates an appealing contrast when paired with monochrome anthracite tiles. In contrast, the WabiSabi collection offers truly unique pieces, embracing imperfection. During its production, a metallic powder is sieved onto a ceramic glaze and fired at over 1,000 degrees Celsius, resulting in uniquely nuanced shadings that vary with light incidence. The WabiSabi collection features three palettes that can be used monochromatically or in combination, with intentional irregularities in color and structure that create captivating tiling layouts. The Streuwerk series is the most versatile and contemporary collection. It involves applying a fine glass granulate to the tiles, which melts into a pearly, semi-transparent relief pattern during firing. Ceramic District designers have created floral and graphic patterns for this series, with options for custom motifs. The three-dimensional surface not only offers an elegant light reflection but also provides a tactile function, potentially useful for attention markings in spaces like stairways. Streuwerk is also slip-resistant, suitable for both wall and floor installations, and available in five combinable formats. The brand emphasizes the archaic beauty and truth in its manufacturing processes and the regional sourcing of its raw materials, aligning with the idea that beauty resides in truth. #PorcelainTiles #CeramicDistrict #ArchitecturalMaterials #InteriorDesign #ManufacturingProcess #TileDesign #LuxuryFinishes #SustainableMaterials #GermanEngineering

The article delves into the rich and multifaceted history of Delftware, the iconic blue-and-white ceramics that have become synonymous with the Netherlands. Far from being a purely Dutch invention, Delftware's origins are deeply intertwined with global trade, cultural exchange, and technological innovation spanning centuries and continents. The journey begins in 14th Century China, specifically the kiln city of Jingdezhen, where potters mastered the complex technique of firing true porcelain at extremely high temperatures. This process created a translucent, durable material with designs trapped beneath a glassy glaze, an aesthetic originally crafted to appeal to the Persian market, which favored cobalt blue decorations but lacked porcelain's pristine whiteness. European elites first encountered these exquisite Chinese porcelains in the late 16th Century, transported via the Silk Roads and Venetian traders, sparking widespread fascination due to the unknown nature of their production. A pivotal moment in Delftware's history was not through trade but piracy. In the early 17th Century, Dutch fleets seized Portuguese ships laden with Chinese porcelain, introducing a large quantity of these coveted items to Europe through auctions in Middleburgh and Amsterdam. The demand was instantaneous and immense, fueled by the novelty of the shiny glaze, white body, and exotic patterns. This spurred the Dutch East India Company, founded in 1602, to establish legitimate trading links with China, although they remained largely subservient to Chinese ceramicists who protected their production secrets. The Chinese porcelain was ordered through intermediaries and delivered to Batavia, the Dutch trading outpost, with Dutch merchants paying homage to the Emperor to maintain these rights. Simultaneously, ceramicists across Europe, particularly in Delft, began to imitate Chinese porcelain. The tin-glazing technique crucial to Delftware originated in the Middle East, traveled through Islamic Spain (giving rise to majolica), then to Faenza (faience pottery), and finally to France. Huguenot refugees, fleeing persecution, brought these pottery traditions to Antwerp and then further north to Delft. While the exact reasons for Delft becoming the prominent center for this imitation are debated, theories suggest the availability of disused beer breweries for potteries and Delft's status as a major East India Company hub, providing access to original Chinese pieces for replication. By 1620, Delft potters had developed their characteristic tin-glazed Delftware, initially combining Dutch countryside scenes with Ming Dynasty-style segmented rims and sometimes misinterpreting Chinese symbolism, such as peaches resembling oranges. Notably, the famous Delft tiles were a national product made throughout Holland. Though initially a cheaper alternative to Chinese porcelain, Delftware quickly achieved a high level of quality, attracting patronage from European royalty, including Louis XIV. However, it was British Queen Mary II, wife of William of Orange, who elevated Delftware to a luxurious status. Having developed an appreciation for Chinese porcelain and Delftware in the Netherlands, her tastes became more lavish upon becoming Queen of England, Scotland, and Ireland. Her commissions led to the creation of the largest and most technically challenging Delftware pieces, such as elaborate vases and flower pyramids. These pyramids, now strongly associated with Dutch culture and tulip displays, were once believed to be inspired by the Nanjing porcelain pagoda. However, evidence suggests French interior designer Daniel Marot, who designed a strikingly similar pyramid-shaped grave monument, may have influenced their design, combining French form with Chinese-inspired decoration and color. Smaller Delftware items also reflected the Dutch Republic's colonial expansion, with some vases even depicting black slaves, indicating an awareness of slavery within Dutch culture. Delftware's popularity waned in the 18th Century with the discovery of porcelain's secret in Meissen and the rise of English creamware. Yet, it experienced a revival in the late 19th Century with the resurgence of 17th Century Dutch style in antique collecting, during which it began to be perceived as a distinctly Dutch product rather than a mere imitation. Its continued relevance into the present day is partly attributed to Queen Máxima, who promoted an elaborate new Delftware dinner service for state functions. This illustrates Delftware's enduring international journey, from its global origins to its modern-day symbolic significance in the Netherlands, continuously shaped by diverse influences and historical events. #Delftware #DutchCeramics #ChinesePorcelain #GlobalTrade #CulturalExchange #ArtHistory #EuropeanDesign #MaryII #TileDesign

Porcelain is emerging as a dominant material for surfaces in both kitchens and bathrooms, progressively challenging quartz's market share due to its superior functional attributes and aesthetic versatility. This material, once installed, requires minimal upkeep, boasting remarkable resistance to scratches and heat, alongside low porosity. While quartz and natural stone are often desired for their appearance, they frequently come with the caveat of extensive maintenance, a concern largely absent with porcelain. Modern porcelain manufacturing techniques allow for the replication of natural stone’s appealing characteristics, including intricate veining and patterns, to such a high degree that distinguishing between genuine stone and high-quality porcelain has become increasingly difficult. Evidence of porcelain's ascendance is supported by a 2023 research paper from German consultancy Titze, titled 'Worktops in Europe', which forecasts a substantial 46% growth rate for porcelain worktops between 2022 and 2030 across key European markets. This trend is actively reflected within the UK's Kitchen, Bedroom, and Bathroom (KBB) sector. For instance, Max Cunningham of Rock Revelations notes a significant reversal in sales, with porcelain surfaces like Dekton now outselling quartz, highlighting porcelain's consistency and heat resistance as key benefits in kitchen environments. Black, grey, and marble-effect porcelains are particularly in demand, with brands like Atlas and Infinity also gaining traction. The UK market is primarily served by a handful of prominent European porcelain manufacturers. Spanish brands include Dekton by Cosentino, Xtone Porcelanosa, and Neolith, while Laminam originates from Italy. Each brand offers distinct advantages: Dekton is recognized for its ultra-compact nature, Xtone for its sustainability, Neolith for its natural material composition, and Laminam for its extensive large-format slabs. Thickness preferences in the UK typically lean towards 20mm, and all these brands provide a vast array of design options in various colours and finishes. Dekton alone offers over 60 colours and multiple finishes, while Laminam boasts 130 colour and texture options, and Neolith provides 50 colours. These manufacturers are continuously innovating, with frequent product expansions. Neolith, for example, recently introduced five new products, including the polished Neolith Lux, which is anticipated to be popular for its timeless appeal. A crucial factor in these brands' strong market presence in the UK is their significant investment in comprehensive training programs, including workshops, seminars, and factory tours, designed to educate the entire supply chain, from designers to fabricators, thereby empowering them to better inform end-users. Even Caesarstone, traditionally known for quartz, ventured into the porcelain market in 2022 and reports rapidly increasing sales. Jonathan Stanley, VP of marketing & customer service at Caesarstone UK & ROI, attributes this growth to both kitchen and bathroom renovations and porcelain's suitability for outdoor applications due to its resistance to heat, sunlight, UV, and extreme weather. Porcelain's capacity to facilitate bolder, more dramatic designs, including heavily veined surfaces, is also a significant draw for homeowners and designers seeking aesthetic versatility. RAK Ceramics, a leading global ceramics manufacturer, has also observed rapid growth in its porcelain portfolio. Alvin Biggs, MD at RAK Ceramics UK, emphasizes porcelain's ability to mimic natural stone at a more affordable price point, alongside its durability, ease of cleaning, and eco-friendly attributes, as major factors driving consumer demand for worktops, splashbacks, and wall/floor tiles. Luxury tile and stone specialist Lapicida, with showrooms in Yorkshire and London, exemplifies porcelain's showroom performance. Their extensive porcelain collection, featuring opulent designs inspired by natural stone, such as Mirrored Marble, highlights the material's premium aesthetic with minimal maintenance requirements. Porcelain thus presents itself as a versatile, low-maintenance 'blank canvas' that seamlessly integrates into diverse home aesthetics, offering considerable potential for growth across the entire supply chain. #PorcelainSurfaces #KitchenDesign #BathroomDesign #MaterialInnovation #InteriorDesignTrends #WorktopSolutions #SurfaceMaterials #HomeRenovation #SustainableMaterials

Archeda, a family-owned business established in 1996 in Porcia, Friuli Venezia Giulia, specializes in creating bathroom furniture, accessories, and complements. The company's core philosophy revolves around culture and sharing, viewing them as essential tools to inspire and appreciate beauty. Archeda focuses on designing bathroom systems that are adaptable and multifunctional, transforming bathrooms into personalized spaces for self-care and well-being. Each collection is a blend of research and innovation, aiming to anticipate current and future design trends and lifestyle shifts. Founders Maurizio Poletto and Piergiorgio Verardo initiated the company with the vision of infusing beauty and innovation into bathroom design through a diverse range of furnishing solutions. The company’s expertise is rooted in a rich tradition of craftsmanship combined with a passion for design, embodying the resilience and foresight typical of "made in Italy" enterprises. The second generation, led by Alberto Poletto, Maurizio's son, has joined the business, bringing a clear and determined vision for future growth. Alberto Poletto's aspiration is to contribute to the family business by developing design furniture, and he aims to implement digitization processes for faster and more innovative services. He also plans to expand into new foreign markets to promote Archeda's core values globally. The manufacturing facility in Porcia spans 4,000 square meters, where a significant portion of the workforce has been dedicated to the company for two decades. These skilled professionals are responsible for processing raw materials, assembling, and crafting high-quality, durable design pieces. Archeda enhances its customer-centric approach by offering a digital configurator, which allows clients to design their bathrooms virtually. The company is deeply committed to sustainability, integrating eco-friendly materials such as wood and glass into its products and adopting environmentally conscious production methods. Longevity of products is a key priority, further supporting their sustainable practices. To minimize its environmental impact, Archeda powers its operations using photovoltaic panels installed on the company's rooftops. The brand's products are distributed throughout Italy via specialized thermo-hydro-sanitary and furniture shops. On the international front, Europe, particularly France, is a significant market accessed through traditional distribution channels. In the United States, Archeda strategically targets the Boutique Contract sector, collaborating with architects and design professionals in major cities like Miami, New York, and Chicago. This approach highlights their blend of traditional craftsmanship with modern business strategies and environmental responsibility.

Ceramic tiles have a rich history, dating back to ancient times, reflecting various ways of living and conceiving space through floors and walls. This versatile material has consistently adapted to the tastes and unique characteristics of different cultures, particularly in Mediterranean countries, where it has been used expressively in both architecture and interior design. The adaptability of ceramic stems from its variable sizes, shapes, and colors, allowing it to evolve with societal customs and uses. From a technical perspective, its format versatility permits broad application on any floor or wall covering, while its color and design capabilities enable it to transform from a structural element into a decorative feature. Examples like Iberian Azulejos, Amalfi Coast majolica, and Faenza tiles highlight ceramic’s role as an ornamental module that integrates with architecture to enhance spaces with distinctive walls and floors. Over time, ceramic has become an indispensable asset for designers, evolving into a hallmark of Made in Italy excellence globally. It plays a pivotal role in shaping contemporary living spaces, continuously undergoing innovation through a blend of tradition, aesthetics, and performance. Modern ceramic materials are engineered to interpret architecture comprehensively, influencing design through a diverse range of colors, patterns, formats, and thicknesses. This adaptability allows ceramic to define the character of homes, retail environments, shopping centers, restaurants, and hotel lobbies. Marca Corona, a company established in 1741 and integrated into the Concorde Group in 1982, exemplifies this tradition. The brand is renowned for its aesthetic research and manufacturing quality, offering a broad spectrum of flooring and wall solutions that can personalize any setting, from small to large-scale projects. Its strength lies in a diverse collection that spans from vintage decorations to contemporary textures and material effects. These designs are available in various formats, including classic small sizes like 20x20 cm, widely used medium sizes such as 30x60, 60x60, 80x80, 60x120, and 120x120 cm, and ultra-thin maxi slabs extending up to 120x278 cm. The brand's offerings feature glossy and matte surfaces, natural, structured, and smooth finishes, a spectrum of primary and pastel colors, and solid and shaded effects. Beyond natural material inspirations like concrete, wood, and stone, the collections include floral motifs, geometric patterns, 3D reliefs, and graphic compositions, catering to evolving interior design trends. Key collections from Marca Corona showcase this versatility. StoneCloud offers lava stone-effect porcelain stoneware suitable for both domestic and commercial spaces, available in multiple sizes and finishes, including Silky Soft, Trama, and structured versions for outdoor use, with a color palette ranging from neutrals to a deep blue. Foyer reinterprets marble in a pop-luxe style, featuring graphic patterns inspired by precious marble varieties across five tonal variations and an innovative 120x278 cm extra-slim panel. Arkistone reimagines stone with added elegance, providing natural and structured finishes in various formats, including new 80x80 cm cuts and 120x240 cm slabs for large surfaces. Overclay draws inspiration from desert colors, offering warm hues and sinuous shades in multiple sizes for indoor wall and floor coverings, extending to retail spaces, with a Petra surface option for bold decorative effects. Storie d’Italia reinterprets classic small square tiles, blending traditional Italian folklore with contemporary design through hand-glazed majolica-inspired patterns and a vibrant color palette in a 20x20 cm format, suitable for both retro floors and striking wall installations. Paprica introduces hexagonal porcelain stoneware tiles (25x21.6 cm) with geometric motifs reminiscent of 80s Radical Design, available in sober and vibrant colors for artistic compositions. Ossidi features classic 20x20 cm and innovative 18.7x32.4 cm rhombus tiles, playing on metal oxide pigments of 19th-century ceramic workshops, offering dusty color palettes from neutral to bold, allowing for infinite compositional possibilities in modern interiors. Through these diverse collections, Marca Corona consistently emphasizes experimentation in formats, geometries, colors, and decorations, paying homage to the inherent versatility and expressiveness of ceramic in art, architecture, and design, while closely monitoring trends in the interior design world. #MarcaCorona #CeramicTiles #MadeInItaly #InteriorDesign #ArchitecturalCeramics #FloorCoverings #WallCoverings #DesignInnovation #PorcelainStoneware

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

Atlas Concorde has introduced LOG, a ceramic wood-effect collection developed in collaboration with ITLAS, a specialist in natural wood flooring and furniture. This partnership aims to elevate ceramic wood effects by accurately interpreting the natural characteristics of oak. The collaboration merges the expertise of both companies: ITLAS contributed its deep understanding of natural wood, including its textures, colors, reflections, veining, knots, and micro-details, while Atlas Concorde applied its ceramic manufacturing knowledge to replicate these features with high realism. This synergy has resulted in two distinct collections: LOG and LOG Cansei. LOG is designed for both indoor and outdoor applications, including wet areas, and offers the practical benefits of ceramic tiles combined with the aesthetic appeal of fine oak. The collection features five color options and seven different decors across two graphic variants: Natural and Forest. The Natural variant presents a uniform background with rich detail, showcasing typical oak flaming and filled cracks. The Forest variant has a variegated background, distinctive details like sapwood and visible color shifts, enhancing its personality. The five natural colors are Bright Oak (light honey with a delicate grayish grain), Icon Oak (straw-colored with hazelnut undertones), Amber Oak (warm honey with intense amber details), Deep Oak (light-brown with hazelnut undertones), and Moon Oak (hazelnut with elegant pearl hues). LOG offers a diverse range of wall and floor decors. Examples include Chevron, which creates a dynamic, symmetrical pattern; Classic Frame, inspired by early 20th-century chests with a star pattern from wood veins; Modern Frame 1, featuring asymmetrical patterns from irregularly shaped planks; Modern Frame 2, characterized by diagonally arranged thin planks; Line, a graphic pattern with vertical strips and contrasting lines; and Tatami 3D, which mimics traditional Japanese wooden floors with alternating parallel planks of varying thickness, creating light and shadow interactions. For outdoor use, the collection includes the decorative Deck solution with a 20-millimeter thickness, designed to resemble outdoor decking with a knurled surface. Additionally, LOG provides 3D-effect solutions for walls in large formats. The LOG Cansei collection is inspired by the unique beech tree found in the Cansiglio Forest, known for its distinct characteristics due to growing at high altitudes in karst soil. This collection replicates the Cansiglio beech's soft tones, natural knots, contrasting central core, delicate flaming, subtle longitudinal grain, and mirroring. Atlas Concorde has extended the original color palette of the Cansiglio beech into five shades, named after Venetian landmarks (Darsena, Murano, Sospiro, Fenice, Rialto) to reflect the material's historical connection to the Republic of Venice. The Grip Sensitech surface, available across all colors, allows for seamless indoor-to-outdoor transitions, leveraging the durability of porcelain tiles. Both LOG and LOG Cansei collections incorporate Atlas Concorde's proprietary Sensitech technology. This patented technology enhances slip resistance while making surfaces easier to clean compared to traditional methods. The Log World initiative, encompassing both collections, introduces two distinct wood inspirations, 15 colors, and eight formats for various indoor and outdoor applications, signifying a new phase in ceramic wood effects that prioritizes authenticity, versatility, and advanced technical performance. #AtlasConcorde #ITLAS #CeramicWoodEffect #PorcelainTiles #HomeDesign #InteriorDesign #OutdoorSpaces #SensitechTechnology #OakReplication

In 2018, José Noé Suro, a prominent figure from Cerámica Suro, a leading ceramics workshop based in Mexico, visited New York. During his visit, he encountered a line of people outside a factory building, which led him to a pottery sale. At this event, he met Helen Levi, a ceramicist and photographer. This serendipitous meeting sparked initial discussions about a potential collaboration between the Guadalajara-based artisan and the Queens-based New York native. These discussions eventually materialized into a joint project. The collaboration resulted in a distinctive satin-glazed earthenware series, which is comprised of two distinct tile groupings. The first group, known as Color Field, features hand-painted tiles that measure 3 ½ square inches. These tiles are designed to evoke the appearance of miniature abstract art canvases, showcasing a blend of artistic expression and ceramic craftsmanship. The second group is named Corduroy, offered in two sizes: 3 ½-square inches and 4 ½-square inches. These solid-colored tiles are notable for their textured surface, which is intended to resemble the characteristic ridges of corduroy fabric, providing a tactile dimension to the collection. The desirability and practical application of these newly developed tiles are further underscored by their recent installation in a commercial setting. Specifically, peach-toned Color Fields tiles have been chosen and installed at the newest location of Talea Beer Co. in Williamsburg. Talea Beer Co. is recognized as a woman-owned brewery, and their selection of these tiles for their latest outpost highlights the aesthetic appeal and market relevance of the collaborative ceramic series. This installation serves as a tangible example of how the tiles can be integrated into modern interior design, contributing to the ambiance of a contemporary space. The collaboration between José Noé Suro and Helen Levi merges traditional ceramic techniques with a contemporary design sensibility. Cerámica Suro, with its established reputation in Mexico, brings extensive expertise in ceramic production and a rich heritage of craftsmanship. Helen Levi, based in New York, contributes her artistic vision and photographic background, influencing the aesthetic and conceptual development of the tiles. The satin-glazed finish of the earthenware adds a refined tactile quality, enhancing the visual depth of both the abstract Color Field designs and the textile-inspired Corduroy patterns. The choice of earthenware as the material base provides a durable yet aesthetically pleasing surface suitable for various applications. The Color Field tiles, with their hand-painted abstract designs, represent an intersection of fine art and functional design. Each 3 ½-square-inch tile functions as an individual artistic piece, allowing for diverse arrangements and patterns when installed. The inherent variability in hand-painted ceramics means that each tile possesses unique characteristics, contributing to the overall bespoke feel of any installation. The Corduroy tiles, available in both 3 ½-square and 4 ½-square sizes, offer a different aesthetic. Their solid colors and textured surface provide a more uniform yet equally engaging option, drawing inspiration from the familiar comfort and visual texture of fabric. The installation at Talea Beer Co. also signifies a successful venture into commercial design, demonstrating the versatility of the tiles beyond residential use. The selection of the peach Color Fields tiles for a brewery suggests an intention to create an inviting and visually stimulating environment, aligning with current trends in commercial interior design that prioritize unique, artisan-crafted elements. #Ceramics #CeramicaSuro #HelenLevi #TileDesign #SatinGlazed #ArtisanCollaboration #InteriorDesign #ProductDesign

Refin, an Italian ceramic tile manufacturer, has launched its new Design Industry collection, inspired by urban design and contemporary architectural trends. This collection was introduced during the Cersaie 2012 design event in Bologna in September. The Design Industry series is characterized by two distinct ranges: Oxyde and Raw, each offering unique aesthetic qualities. The Oxyde range is crafted to mimic the appearance of oxidized metals, featuring a glazed look that incorporates bright, dark, and rust shades. This range aims to evoke the visual depth and texture found in naturally aged metallic surfaces. The color palette and finishing techniques used in the Oxyde tiles are designed to replicate the varied patinas of rusting iron and other weathered metals, providing a sophisticated and industrial aesthetic. This approach allows for the integration of metallic finishes into interior and exterior spaces without the maintenance concerns associated with actual metal. Conversely, the Raw range draws its inspiration from the rugged and unrefined textures of raw cement and peeling plaster. These tiles are designed to reflect the chromatic and structural interpretations of these materials, offering a tactile and earthy feel. The Raw collection captures the understated elegance of industrial concrete surfaces, with variations in tone and texture that simulate the natural imperfections and wear of cement and plaster. This range is particularly suited for contemporary designs that emphasize a minimalist or industrial chic aesthetic, providing a foundation that is both robust and visually appealing. Both the Oxyde and Raw ranges are available in an extensive array of tile sizes, colors, and textures, providing designers and architects with considerable flexibility in project planning for both indoor and outdoor applications. This versatility ensures that the tiles can be adapted to various design schemes and functional requirements, from large commercial spaces to intimate residential settings. Refin has also invested in extensive research to introduce two new maxi-sizes for the Design Industry collection: 75x75 cm and 75x150 cm. The 75x75 cm slab is notable for being the largest size that can be installed by a single technician, balancing ease of handling and installation with the significant aesthetic impact inherent in large-format tiles. This size is ideal for creating expansive, seamless surfaces while streamlining the installation process. The 75x150 cm size, one of the largest available in the market, is designed to further enhance the texture and graphic effects of the tiles. Its substantial dimensions reduce the number of grout lines, contributing to a more continuous and uniform surface appearance. This larger format is suitable for a variety of applications, including indoor flooring and walls, as well as ventilated facades, and can also be subjected to different sub-cuts to meet specific design needs. Overall, the Design Industry collection by Refin offers a comprehensive solution for modern architectural and interior design, providing durable ceramic tiles that replicate the distinct looks of oxidized metals and raw cement, supported by a wide range of sizes and design options to facilitate creative and functional applications. #CeramicTiles #Refin #DesignIndustry #InteriorDesign #ArchitecturalMaterials #OxydeTiles #RawTiles #LargeFormatTiles #IndustrialDesign

Daniel Lalonde, CEO of Design Holding, a prominent luxury multibrand group in the high-end interiors market, outlines his strategic vision for the company's future, focusing on making the experience of purchasing high-end interior products more accessible. Design Holding, established through Investindustrial's acquisitions of Flos (2014), B&B Italia (2015), and Louis Poulsen (2018), has expanded its portfolio to include nine brands, such as Maxalto, Azucena, Arclinea, Fendi Casa, Audo, and Lumens. This consolidation has positioned the group as a significant entity in design-led, luxury interior products, operating in over 130 countries with ten manufacturing facilities. Lalonde, who assumed the CEO role in late 2021, brings extensive experience from luxury multi-brand companies like LVMH, Louis Vuitton, Ralph Lauren, and SMCP. He acknowledges the transition from high fashion to interiors as a "leap of faith" but recognizes commonalities in heritage, craftsmanship, and the use of top designers. The company's brands collectively boast an extensive collection of works from celebrated designers, including modern classics by Achille and Pier Giacomo Castiglioni, Poul Henningsen, Arne Jacobsen, and contemporary pieces by Tobia Scarpa, Antonio Citterio, Philippe Starck, Naoto Fukasawa, Jasper Morrison, and Piero Lissoni, among others. The group also actively seeks emerging design talent. A key aspect of Lalonde's strategy involves shifting the sales model to be more consumer-centric. Historically, over half of Design Holding's business relied on wholesale channels. To address this, the company has opened a 25,000 sq ft retail center at 135 Madison Avenue in New York. Designed in part by Lissoni & Partners, this flagship store provides distinct spaces for each brand, offering a comprehensive multibrand experience. This move aims to engage architects and designers, who significantly influence furniture sales (up to 45% in the US), by providing an immersive environment for both professionals and consumers to make informed decisions. Technological advancements are also integral to the strategy, with new e-commerce platforms and a configurator app being developed for individual brands. However, Lalonde emphasizes the importance of physical interaction with products, which the Madison Avenue store facilitates. The company is also exploring other innovative showcases, such as the West Coast model home at the Mandarin Oriental Residences in Beverly Hills, which features B&B Italia products exclusively. Lalonde's role includes maintaining the distinct identity and character of each brand while fostering collaboration. He highlights the complimentary nature of the brands, noting, for example, the different design DNA between a B&B Italia sofa and a Maxalto sofa. Collaborative efforts among contract teams across brands are encouraged, especially for large projects. The group includes Italian brands (B&B Italia, Maxalto, Azucena, Flos, Arclinea, Fendi Casa), Danish brands (Louis Poulsen, Audo), and the San Francisco-based Lumens. Sustainability and ethical practices are central to Design Holding's environmental, social, and corporate governance (ESG) strategy. The company prioritizes product longevity, quality, ease of maintenance, and repairability. They also focus on sourcing sustainable and ethical supply chains, with benefits extending across all nine brands, such as sourcing wood from certified forests. The preservation of traditional manufacturing techniques and skills is also a priority, with investments in technical schools in Italy to ensure the continuity of craftspeople. The company is also targeting expansion into new markets, particularly Asia, where there is a large luxury market but a relatively nascent high-end design market. Plans are underway to open stores in China, as Design Holding aims to bring the enduring value of design to a global audience. #DesignHolding #LuxuryInteriors #FurnitureBrands #RetailStrategy #DanielLalonde #SustainableDesign #GlobalExpansion #DesignInnovation #Craftsmanship

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

French design duo Olivier Garcé and Clio Dimofski have transformed their 2,300-square-foot apartment in Lisbon, Portugal, into a living gallery that showcases their multidisciplinary practice. Both designers honed their skills at Paris’s École Carmondo and École d’Architecture de Paris-La Villette, followed by a year in Beijing, where they explored the impact of cultural interplay on contemporary design. Their professional journey continued with stints at renowned firms like Shigeru Ban Architects and Hamonic + Masson & Associés in Paris, and a significant role in establishing Pierre Yovanovitch Architecture d’Interieur’s New York office. In 2021, they returned to Europe, specifically Lisbon, to launch their own studio, drawn by Garcé’s Portuguese heritage and the city's vibrant artisan community. The apartment, located on the second floor of a late 19th-century Pombaline-style building, features a distinctive solid-color exterior tilework. Inside, the duo meticulously preserved the elaborate plasterwork and moldings during renovation, aiming to maintain the historical essence of the space. This approach allowed them to seamlessly integrate modern design elements with the building’s original character. The interior is furnished with a thoughtful blend of new and vintage pieces, contemporary art, and the designers’ own handcrafted furniture and products, all reflecting their unique aesthetic and philosophy. A central theme in their design is the emphasis on materiality, with a particular focus on natural elements such as marble, stone, wood, and ceramics. Ceramics, in particular, play a prominent role, appearing in various forms throughout the apartment. Examples include the sculptural legs of the Mimi coffee table and the wall tiles in the kitchen, which feature a painterly glaze developed in collaboration with artist-potter Lígia Guedes. Similar large-format tiles are also used as baseboards in the dining room, creating a cohesive and tactile experience. The designers prioritize local sourcing, utilizing clay from the region and chestnut wood for pieces like the coffee table top, the chunky Hélios sofa, and the study’s wall paneling. Their collection extends to other local and international talent, featuring a Studio Haos aluminum dining table and several paintings by Pedro Batista. Korean American designer Minjae Kim, a frequent collaborator, contributes characterful chairs, tables, and lighting, which exemplify the apartment-gallery’s eclectic and creative spirit. The main bedroom includes a bamboo pendant by Studio Haos and a vintage Italian bench, leading to a bathroom adorned with ceramic tile-clad custom tub and a Rosa Estremoz marble dado. The living room showcases the original plasterwork, a Batista canvas, Garcé & Dimofski’s chestnut-and-ceramic Mimi coffee table, and Colin King’s handwoven Taglio rug for Beni Rugs. Each element contributes to a space that is both a functional home and a dynamic showcase of design and craftsmanship, deeply rooted in both local traditions and global influences. #LisbonDesign #CeramicArt #InteriorDesign #OlivierGarce #ClioDimofski #PortugueseCraftsmanship #MultidisciplinaryDesign #ApartmentGallery #MaterialityInDesign

The article introduces 'Miniature,' the latest small-size tile collection from Marca Corona's 1741 line, which draws inspiration from historic Italian artisanal craftsmanship. Sassuolo, a renowned ceramic production district in Italy, is highlighted as the birthplace of Marca Corona, a brand that has consistently honored its heritage through the 1741 project. This project reinterprets classic styles and images into contemporary designs, with a particular focus on small-format tiles. The 'Miniature' collection features versatile porcelain tiles in a new 6x24 cm size, exploring diverse material and chromatic effects. It evokes the savoir-faire of traditional craftsmanship by incorporating elements reminiscent of majolica, glass, metal, wax, and brick. The small format is not merely a nod to historical artisanal tiles but also offers extensive possibilities for innovative combinations and installation methods across various spaces, surfaces, and curved volumes. The aesthetic variations provide limitless design potential, fostering creative freedom in interior design projects. The collection is a blend of high craftsmanship that complements modern interior design elements like concrete, solid colors, wood finishes, and wallpapers. It encompasses five distinct inspirations: 1. **Miniature Fregio:** This series reinterprets classic Italian majolica with contemporary aesthetics, offering a luxurious and visually impactful surface. Available in Bianco Naturale, Verde Maiolica, Blu Maiolica, and Nero Maiolica, it features glossy surfaces with fragmented designs that mimic handmade embossing, chipping, and cracks, reflecting the beauty of preserved decorative craft. Opaque areas simulate the aging process, giving the appearance of salvaged majolica tiles. 2. **Miniature Soda:** This range draws from the transparencies and reflections of Italian glass, translating them into high-performance ceramics. Each tile is unique, providing a distinct style. The luminous surfaces emphasize color through a palette that includes Bianco Sale, Grigio Luna, Rosa Corallo, Verde Perla, Verde Malva, Azzurro Artico, Blu Galassia, and Nero Magma. 3. **Miniature Fuoco:** This series transforms the colors and shades of oxidized and aged metal into unique ceramic effects, creating dynamic surfaces with metallic reflections. Available in Rame, Brunito, Blu Iron, Corten Bruciato, and Bianco Argenteo, these tiles evoke the charm of metal forged and embellished by time. 4. **Miniature Cera:** Offering a broad palette of pigments, this collection includes Bianco Latte, Cashmere Melato, Grigio Cenere, Nero Inchiostro, Blu Notte, Verde Candito, Verde Foresta, and Amaranto Jam. It features fluid, tactile surfaces with subtle chiaroscuro effects. The new Velvet finish gives a satin appearance and a waxy touch, providing density and depth suitable for combinations with resins, marbles, and woods. 5. **Miniature Fornace:** Inspired by terracotta bricks and ancient building traditions, this series aims to enhance contemporary and reclaimed environments with an industrial aesthetic. It comes in Bianco Minerale, Argilla Naturale, Rosso Mattone, Bruno Bistro, Nero Fumo, and Verde Muschio. A notable variant includes the Formella decoration, influenced by 18th-century London bricks, featuring a recess that originally held trademarks, making the brick lighter and more manageable—a detail intelligently reinterpreted for modern design. #CeramicTiles #ItalianCraftsmanship #MarcaCorona #InteriorDesign #HomeDecoration #TileCollection #Sassuolo #ArchitecturalSurfaces #MaterialInnovation

The article explores the evolution of decoration in interior design, focusing on how ceramic materials and advanced technologies are redefining the concept of surface ornamentation, moving beyond traditional pictorial motifs to incorporate more complex, full-bodied effects. It highlights that decoration, historically integral to living spaces across cultures and eras, continues to adapt and interpret contemporary tastes and architectural styles. Ceramic material, known for its ductility, resistance, and versatility, remains a central element in interior cladding projects, constantly evolving to stay current. The discussion emphasizes how new technologies and aesthetic sensibilities combine to create "decor 2.0," integrating camouflage effects like marble and concrete looks, and offering innovative formats, geometries, and patterns. The piece delves into current trends in coverings that update mosaic and insert techniques using the technological capabilities of porcelain tiles. This integration brings a sense of preciousness combined with the inherent durability of advanced materials. The article notes a dual aesthetic preference emerging in surface design: a leaning towards neutral tones for their sobriety, or a shift towards more daring solutions that imbue spaces with distinct character. This trend is particularly evident in Atlas Concorde's collections, a brand committed to expressive experimentation for architects and designers. The Boost collection is presented as an example, catering to urban chic aesthetics with its imitation of rough, spatulated concrete, enhanced by graphic and material details. It features decorative textures like the Hex Mosaic, which blends concrete's ruggedness with the sparkle of Murano glass to form contemporary hexagonal patterns with translucent and reflective elements. Similarly, the Marvel Edge collection's Hex Gold Mosaic decoration showcases material contamination, where marble-inspired surfaces, such as Calacatta, are brightened by golden inserts, utilizing hexagonal and triangular geometries for unique combinations. The Marvel Dream collection further explores marble effects with colors not found in nature, aiming to modernize the material's classic appeal. Its strong point is a rich decorative system that reinterprets traditional rosette inlays into a modern language, exemplified by the visually striking Leaf Mosaic, available in three color variations, which introduces a fluid and dynamic surface by emphasizing marble's chromatic component. The Blaze collection takes inspiration from oxidized metal, reproducing the vintage aesthetics of rusty walls through characteristic halos, leaks, and iridescent reflections on porcelain tiles, offering a "Rusty Chic" appeal with decorative options like the Blaze 3D Factory macro scale mosaic. Metallic reflections are also prominent in the Mek porcelain wall tiles, featuring contemporary surfaces reminiscent of brushed metal slabs. This collection provides a diverse range of decorations for both commercial and residential interiors, including tonal mixes, geometric motifs, and three-dimensional mosaics like the Hexagon Mosaic and Prisma Mosaic, which feature elegant triangular tesserae with scratches and iridescent flashes, ideal for modern design. Finally, the Dolmen Pro collection addresses the stone look, evoking the natural imperfections and material essence of Trentino Alto Adige porphyry. While the original material is typically for outdoor use, Dolmen Pro's ceramic formats are adapted for refined interior projects, enhancing the raw stone's expressive strength. The Mosaico Squares Mix4 decoration, with its brass inserts and geometric patterns of squares and trapezoids, is designed to illuminate interiors with precious details. #InteriorDesign #CeramicTiles #PorcelainTiles #HomeDecoration #SurfaceDesign #AtlasConcorde #MaterialInnovation #ModernDecor #ArchitecturalFinishes

Terraformæ, an experimental design and research hub, is dedicated to contemporizing and elevating the role and scope of terracotta. This initiative extends the legacy of Fornace Sant’Anselmo, a company established in 1903 in Padua by the De Checchi family, which pioneered the production of fired bricks and later became a leader in soft mud and facing bricks. Terraformæ, founded by Alberto de Checchi with Sveva Bizzotto as Creative Director and Carlo Zambon as laboratory specialist, aims to push the boundaries of clay-centered design and product ideation by bringing together international experts, designers, architects, and researchers. Clay, known for its temperamental nature, requires extensive study and understanding to effectively merge vision with technique. Even minor adjustments in production parameters, such as kiln temperature or ingredient composition, can yield significantly varied results. Terraformæ's core team has mastered working with clay, adopting a bold, experience-based, and detail-oriented approach mirroring their parent company. The hub continuously develops research, strategies, and methods to address challenges through comprehensive analysis. Terraformæ’s operational philosophy is centered on flexibility and efficiency. The studio has invested in advanced technology and emphasizes versatility in its processes. This includes maintaining multiple production lines with various clay mixes ready for immediate use and fine-tuning firing processes to meet specific temperature requirements. This meticulous approach intensifies terracotta’s inherent charm and aesthetic appeal. One of Terraformæ’s innovative approaches involves embracing the material's imperfections. Sveva Bizzotto’s Potoro collection exemplifies this by offering a fresh interpretation of the traditional Potoro technique. Historically, this technique uses fine inorganic pigments to unify the colors of bricks from different production batches after firing. Bizzotto, however, employs a soothing watercolor effect, highlighting terracotta’s diverse design potential rather than concealing variations. Other concepts developed by Terraformæ challenge conventional perceptions. Pietro Bongiana and Silvia Codato’s Split tiles, for instance, reinterpret the joint—an element typically minimized—by enhancing it. The Bongiana Architetture studio designed terracotta tiles with a groove, either diagonal or straight, that divides the surface. Once installed, this groove is filled with colored grout, forming a rhythmic line motif that integrates the joints into the overall pattern. Multifunctionality is another key aspect of Terraformæ’s work. Swedish-American designer Shane Schneck, inspired by Terraformæ’s kiln, created Radiator. This versatile brick item, suitable for domestic use, draws inspiration from the extruded elements of breezeblocks and sunshades. Its wave-like shape makes it a adaptable object holder for various contexts. Through systematic experimentation and a continuous quest for discovery, Terraformæ and its global collective of creatives are actively exploring new territories for terracotta, demonstrating a commitment to innovative and expansive uses of this ancient material. #TerracottaDesign #MaterialInnovation #ClayCraftsmanship #SustainableDesign #ProductDesign #ArchitecturalMaterials #DesignResearch #ItalianDesign #ModernCraft