How descendants of Taj Mahal artisans are keeping marble inlay work alive

Popham Design, a company specializing in encaustic cement tiles, originated from a sabbatical trip to Morocco taken by founders Caitlin and Samuel Dowe-Sandes. They were captivated by Morocco's vibrant craft culture, leading them to establish a workshop near Marrakech. The company employs skilled tile makers who produce tiles that merge contemporary design aesthetics with traditional Moroccan artistry. The design elements are inspired by ancient Moroccan art, architecture, and the natural environment. These tiles feature motifs and patterns that reflect a deep appreciation for the country's historical and cultural heritage, while also incorporating modern sensibilities in their form and color palettes. The manufacturing process of Popham Design tiles emphasizes sustainability and durability. They are handcrafted in an eco-conscious factory, utilizing locally sourced materials and reclaimed water. The key to their longevity lies in the pigmented face layer of each tile, which is several millimeters thick. This substantial layer ensures that the rich, vibrant colors and intricate patterns remain intact over time, mirroring the enduring quality of centuries-old traditional tiles. This robust construction makes them comparable to porous stone tiles in their need for proper care. To maintain their beauty and integrity, encaustic cement tiles from Popham Design require sealing both before and after installation. This process protects the porous surface from stains and wear, contributing to their long-term preservation. The majority of Popham Design's tile collections are available through special order, primarily via AnnSacks.com, catering to a discerning clientele seeking unique and high-quality finishes. Pricing for these artisanal tiles begins at approximately $25 per square foot, reflecting their handcrafted nature, design complexity, and commitment to sustainable production methods. The company’s website, pophamdesign.com, serves as a central resource for information regarding their products and design philosophy. Popham Design's approach not only offers distinctive interior design options but also plays a role in preserving Morocco's rich tradition of artisanal craftsmanship. By integrating ancient techniques and artistic motifs with modern design, the company ensures that these cultural elements continue to thrive in contemporary contexts. The tiles represent a bridge between the past and present, offering a piece of Moroccan heritage adapted for modern homes and commercial spaces. This fusion of tradition and innovation allows for the perpetuation of skilled handiwork and cultural expression through functional art. #MoroccanTiles #EncausticCementTiles #PophamDesign #ArtisanalCraftsmanship #SustainableDesign #TileInstallation #HomeDecoration #InteriorDesign #CulturalHeritage

In Gardena, California, a family-owned business called B&W Tile Co. has been manufacturing tiles since 1947. The company's vibrant purple building stands out near the freeway, attracting builders, contractors, and DIY enthusiasts. Inside, a team of 15 operates a showroom displaying a wide array of tiles, which are the same colors and styles the company has produced for decades. Beyond the showroom, the manufacturing process unfolds in a clay-filled environment, utilizing kilns and large machinery to create each tile from start to finish. Alex Vassaux, the head of operations, attributes the company's longevity to the passion and dedication of its employees and their commitment to preserving historical craftsmanship. The tile bisque and glazes are made from scratch, with most processes handled by personnel. Despite using machinery, the operations are not automated or computerized, relying on staff for control and operation. B&W Tile has faced significant challenges, including a factory fire last year that destroyed critical equipment, impacting production timelines. The company is actively working to recover from these setbacks, with production currently running six days a week to compensate for the damage. New kilns are expected to arrive within three months, which should help normalize production. The resilience of B&W Tile mirrors the durability of its products. The commitment to traditional tile-making by B&W Tile aligns with a broader resurgence of interest in vintage tiles. Social media platforms, particularly Instagram, have played a crucial role in fostering online communities dedicated to the preservation and appreciation of vintage tiling. An Instagram account, @vintagebathroomlove, curated by an individual without professional ties to the tile industry, exemplifies this passion. The curator's appreciation for vintage tiles began in their mid-20s, sparked by a studio apartment with original hex mosaic floor tile, a pedestal sink, and a tub. They were impressed by the enduring quality of these neglected installations. Vintage Bathroom Love considers tiles to be an accessible form of art, functional, approachable, and relatively affordable. Elaborate tiled bathrooms are viewed as museum-quality art pieces, highlighting the skill of past tile setters. The visual appeal of vintage tiles, especially colorful ones, is well-suited for platforms like Instagram, where bright, eye-catching imagery thrives. This visual emphasis has contributed to a shift in design culture, moving away from monochrome aesthetics towards more vibrant and unique elements. Evidence of this trend can be seen in mainstream advertisements from companies like Geico and Target incorporating vintage bathroom aesthetics. Nostalgia also contributes to the rising popularity of vintage tiles. Vassaux notes that classic designs are always appreciated across generations. Vintage Bathroom Love adds that people often gravitate towards familiar elements from the past during challenging times. Many individuals grew up in homes with colored tiles and retain fond memories of these designs, leading them to incorporate similar elements into their own living spaces. This cultural phenomenon reflects a desire for comfort and familiarity in home design. #VintageTiles #TileManufacturing #HistoricCraftsmanship #DesignCulture #HomeDecoration #InteriorDesignTrends #SocialMediaInfluence #ArchitecturalPreservation

Priyanka Shah, through her Surat-based studio Shed, specializes in creating unique, whimsical pieces, with a strong foundation in woodworking. Notable projects include a salvaged wood dining counter for Mumbai's Papa's restaurant, board games for Subko Coffee Roasters, and intricate wooden carousals inspired by city architecture. Despite their woodworking expertise, Shed has demonstrated a remarkable command over marble craftsmanship with their new creation, the Kirwani carrom board. This carrom board reimagines the traditional game by integrating the ancient craft of marble inlay. Instead of conventional markings, the board features miniature-painting-inspired figures from the natural world. Delicate vines elegantly frame the playing surface, while a menagerie of elephants, peacocks, tigers, and cheetahs adorns the board, creating a playful and artistic aesthetic. Shah’s philosophy is to re-envision everyday objects and furniture with a unique perspective. When faced with the carrom board order, she sought an alternative to standard birch plywood, finding an exciting opportunity in marble. Working with marble inlay is both labor-intensive and requires significant skill, demanding exceptional precision, especially for the intricate animal figures. Much of the process was handled in-house, highlighting Shed’s commitment to artisanal development. Artisans were trained in mixing pigments derived from various stone and oxide crushes, while carpenters learned to chisel and sculpt pre-cut stone pieces to fit seamlessly into the base board, much like puzzle components. This hands-on approach ensured the high quality and intricate detail of the finished product. Shah plans further custom experiments, with upcoming pieces from Shed including a triangular carrom board, additional wooden carousals, and glass furniture. This creative exploration reflects a desire to re-evaluate and innovate within established practices, pushing the boundaries of material and design. The Kirwani carrom board stands as a testament to Shed's ability to combine traditional craftsmanship with contemporary design, transforming a common game into a unique work of art that marries functionality with artistic expression. #MarbleInlay #Craftsmanship #IndianCrafts #HomeDecor #ShedStudio #PriyankaShah #ArtisanalDesign #LuxuryDecor

L'esperance Tile Works, founded by Linda Ellett and co-owned with her husband Don Shore, specializes in tile restoration, custom tile work, and the creation of original and contemporary tile designs. Located outside of Saratoga Springs, the company has been involved in numerous historic restoration projects across the country, including those in state capitols and iconic structures like the Columbia University and Ocean Parkway subway stations for the Metropolitan Transit Authority. Linda Ellett's expertise spans historical accuracy and artistic innovation. A notable example of their restoration skill involved re-creating a missing tile for a century-old fireplace in a California home. Working from a grainy 1902 catalog image of a reclining Roman soldier panel, Linda meticulously crafted the missing head and chest tile. This process required careful consideration of factors such as clay shrinkage and glaze darkening during firing to ensure a perfect match in both line and color with the original two tiles. Beyond restoration, L'esperance Tile also creates unique custom pieces. An instance of this is the New York fossil-themed kitchen backsplash, developed for a retired earth science teacher. Inspired by the New York state earth science Regents study guide, Linda designed various fossil motifs, including trilobites, which were first carved in wax and then used to make plaster molds for the clay tiles. These fossil designs proved popular, with the New York state fossils becoming best-selling holiday ornaments during one Christmas season. The tile-making process at L'esperance Tile begins with carving designs into wax panels, often sourced from melted church candles, with added colorant to enhance detail. These designs are then set in plaster to create molds. Clay blocks are pressed to remove air and form ribbons, which are then sliced into tiles. After initial drying and smoothing, plain field tiles proceed directly to the kiln, while decorative tiles are pressed with Linda's plaster molds before firing. The tiles are subsequently glazed and re-fired. The glazing process requires precision, as glaze colors change significantly during firing. The company demonstrates this precision when tasked with matching 100-year-old tiles for a client in Louisiana, meticulously testing shades of blue under various lighting conditions. L'esperance Tile, which moved from Albany to Rock City Falls 12 years prior, offers both decorative and field tiles. While they do not maintain a showroom at their Rock City Falls location, their products are available locally through Green Conscience in Saratoga Springs, via their Etsy shop for art tiles, and on eBay for seconds and overruns. They also sell directly through their website. The company has a national presence through Waterworks, a high-end bath and kitchen design showroom, for whom L'esperance produces the "Vintage" line. #TileWorks #HistoricRestoration #CustomTile #CeramicArt #HomeDecor #ArtisanCraft #NewYorkFossils #TileMakingProcess #InteriorDesign

Aslan Tiles, situated in downtown Nablus, stands as the solitary remaining producer of traditional Palestinian tiles in the West Bank. The Aslan family has meticulously refined this craft across four generations since the 1930s. Despite receiving attractive proposals to relocate their operations to Israel, the family has steadfastly maintained their heritage in Nablus. Palestinian flagstone tiles enjoyed peak popularity in the 1930s, adorning the floors and walls of numerous urban residences throughout Palestine with intricate floral and geometric patterns. However, the advent of inexpensive, mass-produced tiles in the 1980s and 1990s led to a decline in demand for local tiles, resulting in the closure of many local tile producers across the West Bank. Nevertheless, over the past decade, Anan Aslan has observed a resurgence of interest in their bespoke, handcrafted products. The company, employing a staff of seven, operates from a modest three-building premises where they produce these unique tiles. Anan Aslan notes that there is a growing appreciation for their product, which people now view as a significant tradition and heritage, a tangible link to their past and roots. What was once considered a necessity valued for its durability is now seen as a luxury, with customers seeking to engage with this art form. Inside the Aslan workshop, nearly every surface is adorned with the company’s handiwork, creating a vibrant kaleidoscope of colors on walls and floors. The tile-making process is meticulous and labor-intensive. Luay and Omar, the youngest tile-makers, share a stencil and a tile press, each producing between 120 and 150 tiles daily. The process begins with cleaning the copper base of a mold with oil. Pigment is then carefully poured into segments of a stencil. Once the stencil is filled, it is delicately lifted, leaving a precise, watery impression of the design. Thaer then sifts a fine-ground cement over the design, followed by a denser, chunkier cement that forms the tile’s base. The workshop itself is covered in a fine layer of cement dust, and the tools are caked with years of pigment, a stark contrast to the delicate finished products arranged face-to-face behind the workstations. The workshop's office features a vast wall adorned with stencils, some dating back to the 1930s, offering approximately 750 designs that can be mixed and matched. Anan Aslan, representing the fourth generation, recently took over the management of the company from his father, Jalal, though over 100 family members retain shares in the business. Abu Walid, the oldest staff member, has been crafting tiles for the family since 1947, demonstrating exceptional precision in inspecting each finished tile. German-imported colored pigments line the workshop tables. Interestingly, the premises also house a functional chicken coop within one of the workshop buildings, its inhabitants navigating among the piles of tiles. Aslan Tiles exports 70 percent of its products to Israel, serving both Jewish and Arab Israeli clients. Anan collaborates with an Israeli contact who imports the tiles, often in plain, unmarked boxes, which are then forwarded to sellers who apply their own labels. A box destined for Israel is shown stamped with a Hebrew logo. Additionally, orange and black tiles are bundled in the yard, awaiting shipment. While the company receives inquiries from Jordan and the Gulf region, prohibitive export costs often deter potential customers in these areas. #PalestinianTiles #HandmadeCrafts #TraditionalArt #Nablus #FamilyBusiness #CulturalHeritage #WestBank #TileMakingProcess

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 explores the enduring legacy and renewed popularity of terrazzo flooring, particularly highlighting its historical and cultural significance in Fremantle Walyalup, Australia. It begins by likening communities to terrazzo floors, formed by the diverse contributions of cultural groups, with each element adding distinct flavor and color over time. The piece focuses on the Italian community's profound impact on Fremantle's terrazzo tradition, tracing the arrival of Italian immigrants who sought new lives and brought with them the skills to produce these distinctive floors. A central narrative revolves around Guiseppe and Anna Scolaro, who arrived in Fremantle in 1948 and established the Universal Terrazzo Tile company in 1952. Leveraging Guiseppe’s mechanical skills and the post-war building boom, they produced terrazzo tiles, often using imported Italian marble chips, for both new constructions and renovated homes. This enterprise mirrored similar Italian contributions across Australia, such as the De Marco Brothers in Victoria, who laid terrazzo for significant landmarks like the Australian War Memorial’s Hall of Memory. The article delves into the historical origins of terrazzo, noting its development by Venetian artisans in the 15th century as a durable, decorative, and cost-effective flooring solution made from discarded marble offcuts. The popularity of terrazzo surged in the early 20th century with technological advancements in grinding and production, and its use became widespread globally as the Italian diaspora expanded. In Western Australia, terrazzo floors, particularly from the 1950s to the 1970s, introduced a sense of cosmopolitan modernism and offered a familiar ambiance for the Italian community, blending tradition with aspirational living. Over time, these vibrant floors were often concealed under carpet, only to be rediscovered by new homeowners. Visual artist Penny Bovell’s experience exemplifies this rediscovery; she found intricate terrazzo tiles in her new studio in 2000, which inspired her to learn more about their history and artistry. Her subsequent purchase of the Scolaro’s first home revealed unique flooring in each room, further fueling her quest to document these hidden treasures and connect with other owners who cherished them. The article then describes the “Underneath/Overlooked” exhibition at the Moores Building in Fremantle, an homage by Bovell and her daughter, Gabby Howlett, to the Scolaros' artistry. The exhibition creatively reconstructs the Scolaros' first home at half-scale, using silk prints of tile patterns to evoke a magical space. Panoramic photographs of other terrazzo floors adorn the walls, and stacks of foam-core tiles allow visitors to arrange new patterns, replicating the Scolaros’ original design process of collaborating with clients to create unique designs. The exhibition serves as a social document, chronicling Italian migration's impact, celebrating the individuals who created and commissioned these floors, and acknowledging the new custodians who value this heritage. Finally, the article notes terrazzo's recent resurgence in popularity, marked by its recognition as a Pinterest trend around 2017, making it ubiquitous in design magazines and stores. Despite the cyclical nature of trends, the article concludes that the legacy of these remarkable floors and the Scolaro family will endure, transcending transient fads. #Terrazzo #FlooringDesign #ItalianMigration #Fremantle #ArchitecturalHeritage #InteriorDesign #ArtExhibition #CulturalLegacy #HomeRenovation

Motawi Tileworks, founded by formally-trained ceramicist Nawal Motawi, specializes in handcrafted ceramic art tiles that combine charming surface motifs with traditional craft techniques. The company's tiles draw illustrative inspiration from Mid-Century design, Art Nouveau, and the Japanese block printer Yoshiko Yamamoto, moving beyond conventional single-color creations. Each tile undergoes a meticulous, hands-on production process. It begins with a block of clay, known as a pug, which is pressed into a plaster mold to form a tile sheet. Following this, a Motawi Tileworks artisan carefully trims, smooths, bisque fires, and glazes the tile. The glazed tile is then fired a second time before undergoing a final quality-control check. This process ensures that every tile is treated as an individual work of art, despite being modular pieces that can be mixed and matched to create diverse arrangements. Many installations feature a few statement tiles framed by solid or alternating colors, allowing for a personalized aesthetic. Nawal Motawi’s journey began with a desire to create the kind of tiles she envisioned, leading her to establish her own studio after an unfulfilling experience at another tile company. She started by producing tiles in her garage and selling them at local farmers' markets. As the popularity of her tile art grew, Motawi focused on acquiring essential business knowledge, attending conferences to learn about manufacturing, pricing, and business development. She invested in state-of-the-art equipment and eventually transitioned her team to a lean, Toyota-style production system to optimize efficiency and avoid excessive inventory. This strategic business approach proved successful, leading to significant growth for Motawi Tileworks. The company now generates $2.7 million annually and was recognized as one of Forbes’ 25 Small Giants in 2017. Based in Ann Arbor, Michigan, Motawi Tileworks offers workshops for those interested in learning about tile making and hosts free weekly public tours, allowing visitors to observe their craft firsthand. The company's success highlights the blend of artistic vision and sound business practices in creating a thriving craft enterprise. Motawi Tileworks continues to create distinctive art tiles with surface designs influenced by various art history movements, providing decorative wall solutions that enhance any room. The focus on handcraftsmanship ensures each piece contributes to a unique and artistic interior design element. #ArtTile #CeramicArt #HandcraftedTiles #MotawiTileworks #HomeDecoration #ArtNouveau #MidCenturyDesign #TileMaking #AnnArbor

Marble, a material renowned for its strength, durability, and aesthetic appeal, has been a cornerstone in architectural design for centuries, exemplified by structures like the Taj Mahal. India possesses rich natural marble reserves, particularly in regions such as Rajasthan, Gujarat, Andhra Pradesh, and Madhya Pradesh, positioning it as a significant global exporter of this natural stone. The market for marble in India is robust, catering to diverse design requirements and practical applications. This overview highlights the top ten marble companies in India, recognized for their quality products, customer service, competitive pricing, and overall customer satisfaction. Oswal Granite, established in 1989, began as a small trading company and evolved into a major exporter, manufacturer, and supplier. It offers a wide range of marbles, granites, limestones, and sandstones, boasting ISO certification, mass production capabilities, and a global marketing network. Its units and stockyards are spread across key Indian cities, utilizing advanced technology to deliver high-quality products. Indian Marble Company, with roots dating back to the 1970s, holds a strong position in the Indian and global tile markets. It manufactures and sells various natural stones, including marble, limestone, quartzite, slate, and granite, and has been a key supplier to major building residences for nearly five decades. The company combines traditional craftsmanship with modern technology to serve a broad clientele of exporters, importers, designers, architects, builders, and homeowners. Madhav Marble & Granite Ltd., founded in 1989, specializes in marble tiles, slabs, and blocks, alongside granite products. Its Granite Division in Salem, India, employs advanced Italian processing technology. The company's main offerings include granite and marble slabs and tiles, as well as property development, and it has expanded its operations nationwide over three decades. vista A-Class Marble India Pvt. Ltd., incorporated in 2005, is a leading importer and supplier of high-end marble tiles in India. It sources over 450 varieties of marble, stone, and granite from various countries, including Italy, Spain, and Turkey, engaging in both trading and processing. Classic Marble Company Pvt. Ltd., established in 1994, operates globally and manufactures a wide array of natural and composite marbles, granites, and other construction stones. With a large setup and significant operational sales, it is a prominent player in the industry. Kushalbagh Marbles Pvt. Ltd., a private firm since 1985, trades in marble, granite, sandstone, slate, quartzite, and limestone. It is recognized for high-quality products manufactured using modern machinery and holds the distinction of being one of India’s largest natural stone suppliers and producers of polished, ready-to-use tiles. Maruti Granites & Marble Pvt. Ltd., founded in 1987, processes marble slabs and tiles from its plant in Udaipur, Rajasthan. It sources materials domestically and imports from Italy and Turkey, benefiting from the promoters' extensive industry experience and strategic location. RK Marble, founded in 1989, has grown into a major conglomerate in marble import and export, with quarries in Rajasthan and Vietnam. Aditya Stonex, established in 2014, quickly rose to prominence as a manufacturer, supplier, and exporter of marble, sandstone, and granite. It offers lightweight, strong, and heat-resistant materials, supported by advanced infrastructure and stringent quality control. Mumal Marbles Pvt. Ltd., incorporated in 1988 in Udaipur, Rajasthan, imports marble blocks from Italy and Turkey, processes them, and exports to over 40 countries. It owns several quarries and is known for its diverse range of marbles, including Italian varieties. These companies collectively highlight India's strength in the marble industry, contributing significantly to its architectural landscape and maintaining high standards of quality and innovation. #MarbleCompaniesIndia #NaturalStone #IndianArchitecture #BuildingMaterials #ConstructionIndustry #StoneSuppliers #InteriorDesignMaterials #GraniteSuppliers

The article details the formation and work of ‘Save the Tiles,’ a non-profit organization established in Altadena, California, following a devastating fire. The initiative began when Lucy Garland and her father, Eric, observed antique Batchelder tiles among the charred remnants of homes in the burn zone. Recognizing the historical and sentimental value of these tiles, especially the distinctive Arts & Crafts style Batchelder tiles created by Ernest Batchelder, Eric Garland initiated efforts to preserve them. Ernest Batchelder, an artist and teacher from Pasadena in the early 1900s, was known for his unique single-fire process and natural motifs, with a significant concentration of his work in Pasadena and Altadena homes. Garland, a third-generation Altadenan and tech entrepreneur with no prior preservation or masonry experience, connected with local mason Cliff Douglas through a Reddit post. Together with other neighbors, including Stanley Zucker, they founded Save the Tiles. The organization is dedicated to rescuing, repairing, and storing historic tiles from fire-destroyed homes at no cost to the homeowners. Their initial step involved canvassing the neighborhood to identify homes with salvageable tiles. This survey attracted 50 volunteers, forming a robust, all-volunteer operational machine. Designer Jaime Rummerfield, co-founder of the L.A.-based preservation organization Save Iconic Architecture, was among the early volunteers, expressing the profound impact of participating in the tile rescue efforts. Garland realized that this initial survey inadvertently created a crucial neighborhood assessment in the immediate aftermath of the natural disaster, providing valuable data to homeowners and city planners alike. This process established an important model for community action in post-disaster recovery. The urgency of their mission stems from the fact that any tiles not saved before lots are cleared for rebuilding will be sent to landfills. The organization is committed to salvaging these historical elements before bulldozers arrive. Currently, Save the Tiles operates with six to eight teams of masons, tile artists, and remediators. These teams work diligently to rescue the tiles, remove old mortar, perform necessary repairs, and then catalog and store them for homeowners who lack storage facilities. The article emphasizes that this preservation effort extends beyond the intrinsic value of the tiles themselves. Garland highlights that they are saving the last tangible pieces of people's lives, the community's history, and personal memories. He articulates that these historic materials embody institutional memory, crucial for understanding the identity of Altadena and informing future aspirations. Garland, who has embraced this unexpected role, views his work as highly purposeful and personally gratifying, believing that what they are saving today will serve as a vital reminder of Old Altadena a century from now, connecting past legacies with future dreams. #AltadenaFire #HistoricPreservation #BatchelderTile #CommunityAction #ArtsAndCrafts #TileRestoration #PostDisasterRecovery #ArchitecturalHeritage #VolunteerEffort

In an era of rapid mass production and standardized designs, there's a growing appreciation for products imbued with historical narratives and unique backstories. India, a nation rich in indigenous crafts, boasts a diverse array of cultural influences, artisanal skills, and time-honored techniques perfected over centuries. These crafts embody community practices and symbolize rituals and traditions passed down through generations. However, many traditional Indian crafts face challenges such as declining demand, a dwindling number of skilled artisans, and design stagnation, leading to a loss of their inherent value. Nolwa Studio, for instance, believes that traditional Indian crafts can significantly enrich modern design. While their design language may have stagnated, the underlying skills, processes, and knowledge remain highly relevant, offering exciting possibilities for contemporary expression and re-imagination. Modern designers are actively integrating the nuances of these indigenous crafts into contemporary products, ensuring each piece carries a fragment of history and cultural significance. These products stand out due to the inherent value of human touch, patience, and remarkable craftsmanship, making each item unique and distinct, its value deepening over time. Each craft possesses a specific purpose and has evolved with a profound sensitivity to local climates and materials. These handcrafted items infuse modern spaces with character, meaning, and soul, bridging the past and present by grounding contemporary living in centuries of culture, symbolism, and technique. This evolving aesthetic marks a return to authenticity, with craft playing a central role in this journey. This article highlights five organizations that are leveraging India's rich craft heritage to create functional yet aesthetically pleasing interior products. Fos Lighting in New Delhi focuses on luxury lighting, emphasizing personalization. Their handcrafted lights aim not only to illuminate but also to evoke emotion, allowing individuals to bring a piece of their culture home, fostering nostalgia, and adding timeless elegance. The brand collaborates closely with skilled artisans, employing ancient crafts and techniques like inlay and engraving. Examples include brass navkashi work for wall sconces and pendant lamps, marble inlay from Agra for table lamps and wall lights with contemporary lines, delicate Rashida embroidery from Kashmir on fabric lampshades for texture, and terracotta and clay work for rustic outdoor lighting. This collaborative process ensures both craft preservation and design innovation. Furgonomics, also based in New Delhi, founded by Amrita Guha and Joya Nandurdikar, re-imagines various Indian crafts such as marquetry, Tarkashi, Sanjhi, and Koftgiri for their products. Their goal is to introduce lesser-known crafts and their inherent beauty to a wider audience, ensuring their longevity. The duo also explores craft traditions like Kari Kalamdani, Pinjrakari, and Khatamband for wardrobe shutters and partitions, and Dokra for console tables. They aim to use art forms in unconventional ways, with all products meticulously crafted by local artisans. One notable product is a chair featuring Koftgiri, a rare Rajasthani craft involving intricate silver inlays on iron or steel, enriching its sleek wooden form. Another is a tall storage unit made of Basalt, integrating marquetry and Tarkashi with strong geometric graphics, presenting a modern interpretation of ancient techniques. Nolwa Studio in Hyderabad reconceptualizes traditional techniques to create novel, contemporary, and globally relevant pieces rooted in heritage. They are revitalizing Bidri, an intricate metal-inlay craft, in products like drop tables, lamps, and mirrors. They combine Bidri, traditionally ornamental, with avant-garde forms, minimalism, and large-scale applications, expanding its conventional use. This required developing new casting techniques and engineering innovations, allowing the craft to move beyond mere surface ornamentation to become integral to the object's form and function. Their monolith and horizon lamps serve as sculptural objects of illumination, and their drop table features a seemingly levitating base. The Liminal bar cabinet, combining Bidri metal with wood, further expands the craft's possibilities, creating modern heirlooms that carry tradition into the future. Design ni Dukaan in Ahmedabad, a multidisciplinary studio, integrates materiality, craftsmanship, and spiritual philosophy into its creations, believing that “craft is generational while design is intentional.” They aim to translate the intangible nostalgia of crafts and the rhythmic labor of artisans into tangible architectural presences. Through artisan collaboration, craft transforms into functional sculpture and a dialogue between tradition and reinvention. The firm transforms wardrobe fascia through artistic interventions using textiles, cane, or inlays. Handwoven Pattamadai paai mats from Tamil Nadu are used in wardrobe fascia and swings due to their flexibility. Sujani weaving from Gujarat has been utilized for partition screens in architectural projects. Their metal dismantle chair explores precision and modularity through an intricate joinery system, eliminating welding and allowing for complete disassembly and reassembly, crafted from teakwood and solid milled brass. Traditional Handicrafts Centre (THC) in Jodhpur, a furniture brand, supports artisan communities and preserves craft cultures, working with bone inlay, wood carving, and wrought iron. Their specialization lies in bone inlay furniture and the restoration of heritage Naga furniture. Bone inlay, originating in Rajasthan's royal courts, involves hand-cutting, shaping, and individually inlaying bone slivers into carved wood. THC ensures ethical sourcing of camel bone from naturally deceased animals. The firm is also dedicated to preserving Nagaland's intricate woodwork, ethically sourcing pieces from old structures and restoring them with reclaimed teak wood, ensuring sustainability and authenticity. Hornbill and geometric patterns, rich in cultural meaning, are adapted for modern interiors. #IndianCrafts #HomeDesign #InteriorDecor #TraditionalTechniques #ArtisanSkills #SustainableDesign #CulturalHeritage #ModernFurniture #HandcraftedLighting

The Cersaie 2019 exhibition highlighted a significant resurgence in the use of decorative ceramic tiles as a versatile and expressive cladding material. This trend showcases ceramics' ability to emulate natural materials such as wood, stone, marble, and concrete, while also establishing its unique aesthetic identity through innovative decorative applications. Manufacturers presented a wide array of formats, colors, and designs, transforming surfaces into opportunities for artistic and formal experimentation, with a particular focus on covering large areas using maxi slabs and extra-large tiles to ensure graphic continuity. Del Conca, celebrating its 40th anniversary, introduced the 'Timeline Seventy-Nine' collection, characterized by soft tones and sweeping surfaces. The decorative motifs in this collection draw inspiration from imperfection, featuring textile textures with interrupted designs that evoke the elegance of aged tapestries or rugs, adding a sense of dilapidated sophistication to walls. Ragno's new 'Maiora_Concrete Effect Botanical' line combines large, thin slabs with intricate natural and floral graphics. This collection, including three extra-large models (120x278 cm), can be used individually or in bold wall compositions. The designs uniquely contrast concrete-effect backgrounds with vintage botanical decorations, pushing the boundaries of ceramic surface application. 41zero42 unveiled 'Louis,' a new family of decorated tiles with floral inspirations, as part of their 'Paper41 Lux' collection. This line utilizes photographic hyper-realism and advanced digital printing, incorporating a resin into the ceramic mix to achieve particularly brilliant, resistant surfaces with vivid reflections and chromatic intensity. Florim, in collaboration with Rubelli, presented 'i Filati di Rex,' a collection that meticulously translates motifs from prized textiles onto ceramic surfaces. This innovative stylistic approach enhances the material's expressive potential, creating visually detailed surfaces that resemble fabric wallpapers, with nine decorative motifs inspired by nature and art spread across large tiles. Devon&Devon;'s 'Décor Slabs' collection uses pure gold as its foundation, offering large-format ceramic slabs that interpret Art Deco motifs through advanced digital inkjet printing. The extra-large sizes minimize seams, ensuring a clean and perfect aesthetic. The collection features two themes: 'Acanthus,' inspired by acanthus leaves and available in six colors, and 'Peacock,' a stylized reinterpretation of peacock plumage on white or sage backgrounds. Fap Ceramiche introduced 'Bloom,' a collection of large 80x160 cm tiles designed to create a wallpaper effect with remarkable materialistic and graphic qualities. These lightweight tiles are easy to install, with maxi decorations ranging from floral themes to warm, faded colors and sparkling metallic inserts. Mutina's ceramic decorations emphasize the versatility of clay, a moldable mineral compound used for tactile and chromatic experimentation. Their display at Cersaie 2019, an 'Alphabet' stand, showcased over ten years of production, highlighting their consistent exploration of whites, blacks, and neutral tones. Ceramiche Refin's 'Vetri' collection focuses on brightness and transparency, utilizing advanced production technologies to give porcelain stoneware the expressive qualities of crystal. Delicate shades at tile borders create depth, while a glossy finish reflects light. The collection features an evanescent color range and natural glass tones, with geometric decors like 'Piet' inspired by Mondrian. Marca Corona's 'Victoria' collection, exhibited at Cersaie 2019, features geometries and reliefs inspired by classic English aesthetics. These ceramic surfaces create exclusive environments with soft tones like aqua green, silver grey, and beige vanilla. Ornamental tiles include three-dimensional textures and molded panels with a boiserie effect, reimagining Victorian-era bathrooms. Another collection from Marca Corona, 'Overclay,' presents decorative porcelain stoneware with sandy shades inspired by desert tones, evoking Moroccan souks through faded and dilapidated effects, creating relaxing atmospheres with Rose and Cotto accents. Finally, Ceramica Sant’Agostino’s 'Spring' collection utilizes glazed double-firing to enhance vibrant colors and decorative textures, expressed through 3D reliefs or fantastical graphics that mimic wallpaper effects. Ceramica Francesco De Maio reissued Gio Ponti's 'Blu Ponti' collection, featuring 33 decorated majolica tiles in white and blue, showcasing hand-printed designs that pay tribute to Italian ceramic heritage and design mastery. #DecorativeTiles #CeramicCladding #Cersaie2019 #InteriorDesignTrends #ArchitecturalSurfaces #MaterialInnovation #HomeDecoration #SurfaceDesign #TileTrends

Lél is an artistic collective dedicated to the preservation, reinterpretation, and development of the ancient art of handcrafted stone inlay, known as pietra dura or parchinkari in South Asia. Founded two decades ago by Farhana Asad and now run in collaboration with her daughter, Meherunnisa Asad, who serves as the Creative Director, Lél bridges traditional craft techniques with contemporary design and innovative application. The company employs local craftsmen and refugee artisans displaced by the Afghan conflict to Peshawar, Pakistan, providing them with secure work rooted in their heritage. The art of pietra dura, originating from the ancient Roman opus sectile technique, reached its zenith in 16th-century Florence, where it was described as 'painting in stone' due to the meticulous cutting and fitting of stones into intricate forms. This art spread across Russia, Iran, and into South Asia, including Afghanistan, India, and Pakistan, under the patronage of the Mughals. For the Afghan refugees working with Lél, this craft offers a vital connection to their history, culture, and homeland, providing stability amidst displacement. Lél's production process uniquely blends the old with the new. Their furniture and accessory collections draw diverse influences, from exquisite floral patterns reminiscent of Mughal miniatures and Islamic architecture to the vibrant deep blue of lapis lazuli combined with gold, echoing the Japanese Kintsugi tradition. This approach ensures that pietra dura remains relevant and evolves into a contemporary art form, rather than merely being preserved. Each new piece created by Lél represents a step towards the future of this ancient craft. In September 2019, Lél debuted at the London Design Festival with installations at Mint Gallery and with the Middle-Eastern NGO Irthi Contemporary Crafts Council. Meherunnisa Asad emphasizes that the balance between ancient technique and contemporary taste lies in a collaborative vision where learning flows both ways—between artisans and designers, and between tradition and modern culture. This collaborative space allows for true innovation and adaptation. Looking to the future, Lél continues to expand its collections and collaborations. The Champa tables, for instance, are inspired by the Frangipani tree, featuring naturally shaped marble tabletops sourced from Pakistan, inlaid with serpentine and onyx stones by master craftsmen, including Afghan refugees. These tables integrate nature into the home, with natural irregularities adding uniqueness and angular metal legs providing a modern aesthetic. Lél also collaborated on the Talli x Misbah installation for the London Design Fair, reinterpreting the Islamic rosary-like misbah into sculptural home accessories. These large-scale ornaments, crafted from semi-precious stone and marble beads engraved with geometric patterns, can be arranged in various ways to highlight the poetics of space. Lél has numerous international projects planned for the next 18 months, aiming to bridge East and West through their global vision. Lél is also slated to represent the Pavilion of Pakistan at the London Design Biennale in September 2020. #PietraDura #StoneInlay #AfghanArtisans #ContemporaryCraft #LondonDesignFestival #MughalArt #HeritagePreservation #HomeDecor #FurnitureDesign

Handmade tiles are experiencing a significant resurgence in luxury hotels, shops, restaurants, and private properties across India, driven by a growing preference for authentic and sustainable products. This trend highlights the unique appeal of cement tiles, also known as decorative encaustic tiles or concrete tiles, which are celebrated for their ability to infuse spaces with an old-world charm through bold, traditional patterns. The article details how these tiles are being incorporated into diverse projects, such as Isprava’s Igreha Vaddo villas in Goa, where flooring features handmade art from Rajasthan and Karnataka, utilizing cement tiles and stones in various colors and patterns to create vibrant living spaces. Interior designers are increasingly opting for customized handmade tiles to achieve specific aesthetic goals. For instance, Tejal Mathur, founder of Tejal Mathur Designs, used bespoke cobblestone flooring at the British Brewing Company in Mumbai to evoke a London marketplace ambiance. Similarly, the Boston Scientific office in Gurgaon installed handmade patterned tiles in its cafeteria to create a 3D effect, offering an upscale café feel. Punjab Grill in Hyderabad also showcases handmade tiles in a distinctive herringbone pattern. One of the primary characteristics distinguishing handmade cement tiles is their inherent imperfection, which aligns with the Japanese concept of Wabi-Sabi—finding beauty in flaws. Each tile possesses unique variations in lines and edges, contributing to its distinct narrative and natural aesthetic, as noted by interior designer Sarah Sham from Essajees Atelier. This individuality makes every installation a unique work of art. The manufacturing process of these tiles is entirely handcrafted, involving mineral pigments, cement, a metal mold, and a hydraulic press. Firdaus Variava, Vice-Chairman of Bharat Floorings, a company with nearly a century of experience in this craft, explains that metal molds are custom-made from design drawings. After casting, tiles undergo a water curing process followed by air-drying, which contributes to a longer delivery time compared to ceramic tiles. A key aspect of their durability is that the patterns are not merely printed or painted; instead, colored cement materials are hand-poured into divider molds, ensuring the patterns are an integral part of the tile and will endure for decades. These tiles are not fired and lack a glaze layer, deriving their strength from a finely dehydrated Portland cement layer combined with a coarser sand and cement layer. Bharat Floorings has a rich history, having supplied tiles for iconic structures such as The Jewish Synagogue, The Royal Bombay Yacht Club, and the Salar Jung Museum. The company continues to innovate through collaborations with designers, aiming to merge modern sensibilities with traditional craftsmanship. The cost of handmade cement tiles is comparable to ceramic tiles, with prices increasing based on design intricacy. The current trend strongly favors heritage tiles, which have long been popular in retail and are now gaining traction in residential and hospitality sectors. These bespoke tiles come in a wide array of colors and designs, including floral, geometric, and increasingly, abstract shapes. Despite the emergence of new flooring styles like acid-stained, micro-cement, and epoxy floors, heritage tiles remain a timeless favorite. The overall direction in the tile industry leans towards more organic and natural-looking products, a niche perfectly filled by handmade tiles due to their unique, artisanal qualities. #BharatFloorings #Featured #FirdausVariava #HandmadeTiles #Isprava #TejalMathur #LuxuryDesign #InteriorDesign #SustainableDesign

Zach Kenney, founder of ZK Painting, discusses his company's commitment to preserving historical homes in New England through meticulous painting. With 12 years in business and based in Boston, ZK Painting approaches historical projects with a deep respect for the craftsmanship of past generations while leaving their own mark for the future. The article highlights a specific project in Cambridge, Massachusetts, where the team is utilizing colors from Benjamin Moore’s Williamsburg Collection, chosen to complement the building's historical character and blend seamlessly with its architectural style. Kenney describes the process of working on historic homes, noting that despite the initial appearance of a pristine finish, many layers of paint from different eras often conceal imperfections. The majority of their work involves extensive sanding and preparation to create a smooth, durable surface before paint application. This dedication to detailed prep work is fueled by a passion for the craft, culminating in a rewarding sense of accomplishment when the final coat is applied. For the Cambridge project, the team is applying Benjamin Moore’s AURA Matte paint in colors from the Williamsburg Collection. Specifically, Chiswell Blue is being used in the main bedroom, and Raleigh Peach, another Williamsburg historic color, is designated for the study. Kenney emphasizes the excitement of the client upon seeing the historic color palette and the team's satisfaction in applying the final coats of paint, likening it to "the icing on the cake" after all the preparatory work. The painting process itself follows standard professional practices, including straining the paint to ensure a smooth finish and never painting directly from the can. Given AURA paint's fast drying time, the team employs a coordinated approach, with one painter cutting in edges with a brush while another follows immediately with a roller to maintain a wet edge and prevent lap marks. This synchronized method ensures a uniform and high-quality finish. Kenney has consistently worked with Benjamin Moore products throughout his career, valuing their high quality and commitment to product longevity, especially for historical projects. He expresses a profound sense of pride in his work, viewing it as a continuation of a lineage of skilled craftspeople. For Kenney, painting historical homes transcends a mere job; it is a soulful endeavor that connects him to the past and future, enriching the meaning of each project beyond simply applying paint to walls. #HistoricalHomes #PaintingTechniques #BenjaminMoore #WilliamsburgCollection #HomeRestoration #NewEngland #InteriorPainting #ColorSelection #Craftsmanship