shirin ehya laser-cuts iranian tile patterns onto fantasia collection

The "Contemporary Persia" collection is a collaborative effort between Swiss textile manufacturer Christian Fischbacher and architect Hadi Teherani. This collection, comprising 10 distinct fabrics in various color variations, aims to encapsulate the diverse and contrasting hues of the Iranian landscape. The fabrics, intended for both curtains and upholstery, are crafted from a blend of materials such as linen, wool, and polyester. The color palette of the collection features soft shades of blush pink, earthy sand tones, muted greens, and occasional splashes of blue and blush accents. Camilla D. Fischbacher, the creative director of Christian Fischbacher, emphasized the significant creative power and rich cultural heritage of Iran that inspired their dialogue with Teherani. Teherani himself noted that fabrics play a crucial role in completing architectural spaces, offering a tactile and sensory experience. The article highlights ten specific fabrics from this collection, each with unique characteristics and inspirations. One featured fabric is "Roya," a jacquard curtain fabric inspired by the landscape and colors of the Iranian Aladagh Mountains. It is a blend of viscose, cotton, and polyester yarns, which allows for intricate color gradients. "Roya" is available in five color options and its name translates to "beautiful dream" in Persian. "Afsun" is another curtain fabric, notable for its design that subtly incorporates the Persian letters H and T, representing Hadi Teherani's initials. This semi-transparent fabric is described as lively and comes in four flame-retardant color options, making it suitable for commercial applications. "Baran," an upholstery fabric, is created by combining linen warp with loosely twisted weft yarn, resulting in an uneven structure and a geometric dobby weave. Its name, meaning "rain" in Persian, alludes to the scarcity of rain in many parts of Iran. "Diba" is a graphic patterned upholstery fabric made from a natural fiber blend, giving it a lively and soft surface texture with a Panama weave. Its design draws inspiration from the distinctive brickwork commonly found in Persian architecture. Similarly, "Mitra," an upholstery fabric, uses wool yarns combined with linen warp to create a voluminous texture, also inspired by traditional Iranian brickwork. "Tara" is a medium-weight upholstery fabric featuring a dobby weave with loosely twisted yarns that rise to the surface, giving it a bold visual effect. "Donya," a densely woven wool satin, is versatile enough for both curtains and upholstery. It is treated with a special dirt-repellent finish, enhancing its durability and stain resistance. "Donya" is offered in ten colors, including earth, vanilla, blue, and salmon red tones. "Dasht," meaning "desert" in Persian, is another dual-purpose fabric for curtains and upholstery. It comes in ten colorways and is made from linen-cotton chenille yarn, providing an elegant, velvety appearance with a grainy touch. "Nasim" is a transparent voile with a cotton-like feel, available in four colors that coordinate with the "Donya" fabric. Finally, "Aramesh," which signifies "calmness, peace of mind, and bliss" in Persian, is a matt, transparent, and lightweight fabric suitable for curtains. It is flame-retardant and available in mélange colors. Christian Fischbacher, a family-owned company with over 200 years of history, specializes in interior fabrics, accessories, carpets, and wallpapers. The collection reflects the combined creative vision of Camilla D. Fischbacher and Hadi Teherani, both of whom have Iranian roots but reside in Europe. #TextileDesign #FabricCollection #IranianLandscape #InteriorDesign #HadiTeherani #ChristianFischbacher #UpholsteryFabric #CurtainFabric #ContemporaryPersia

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

Interior designer Marie Flanigan advocates for expanding the use of tile beyond traditional flooring applications, encouraging homeowners to integrate this versatile material into various parts of their living spaces. Flanigan highlights a growing trend where tile is being reimagined as a stylish design element that introduces texture, color, and design sophistication to areas traditionally not tiled, such as walls, vanities, countertops, and even island countertops. She emphasizes that while tile is conventionally used for floors and practical bathroom surfaces, contemporary design is exploring more unconventional placements to make significant design statements. One key recommendation from Flanigan is to consider unexpected tile placements. This approach involves applying tile to surfaces like accent walls, fireplace surrounds, or even as decorative trims and borders to introduce color or pattern. For example, tiling a fireplace wall can create an instant focal point, particularly when using glossy, reflective materials like zellige tiles, which add a unique pop of texture and visual interest. Whether using neutral, large-format tiles for subtle texture or intricate patterns with smaller, decorative tiles, the visual impact is distinct and difficult to replicate with other materials. While tiling kitchen or island countertops can be a divisive choice due to concerns about grout lines and maintenance, Flanigan suggests that with careful selection and modern design approaches, these applications can remain fresh and stylish, avoiding a dated 1970s aesthetic. Flanigan also encourages the use of handmade and organic tile materials. She suggests exploring options such as hand-glazed ceramics, natural stone, or reclaimed terracotta to infuse warmth, character, and individuality into a space. Handmade tiles are particularly valued for their unique variations in tone, texture, and inherent imperfections, which contribute to a dynamic and artisanal aesthetic. These materials can create a soft, textural feel that enhances the overall ambiance of a room. Finally, Flanigan stresses the importance of playful pattern arrangements with tiles. She notes that current tile trends extend beyond conventional laying methods, focusing instead on creative placement and pattern play with grout lines and grid patterns. Designers are experimenting with changing the orientation of tiles to create diverse patterns like basket weaves, plaids, or stripes, especially in areas like shower surrounds. Vertical striped tiles can visually elongate a shower wall, imparting a sense of height, while horizontal stripes can make a room appear more expansive. A plaid pattern offers a timeless and comforting aesthetic. This creative freedom allows for personalized and modern twists on classic tile applications, making the possibilities for design truly extensive. By embracing these unconventional methods, organic materials, and playful patterns, homeowners can transform ordinary spaces into uniquely designed environments. #TileDesign #InteriorDesign #HomeDecor #MarieFlanigan #DesignTrends #ZelligeTiles #HandmadeTiles #PatternPlay

Najd is a new textile collection, designed by architect and designer Tristan Auer for Lelièvre Paris, drawing inspiration from Saudi Arabian design. The collection's distinctive natural and earthy color palette is directly referenced from the Najd desert, which also provides the collection with its name. The creative process behind Najd involved Tristan Auer's deep dive into the traditional architecture of the central Saudi Arabian region, translating its colors and structural lines into textile designs. The Najd desert, characterized by its vast expanses of natural earth and clay hues, served as a primary muse. This inspiration manifests in the striking interplay of orthogonal architectural structures and the organic, flowing lines of the desert's endless dunes. This juxtaposition of structured forms and natural fluidity is a core theme throughout the collection. The Najd textile collection offers a variety of designs, incorporating both geometric patterns and diverse textured surfaces. These visual and tactile elements are designed to evoke the rugged yet refined aesthetic of the desert landscape and its historical built environment. The collection is fabricated using a range of materials, including cotton Jacquard, linen, and high-performance fabrics, catering to various applications and functional requirements while maintaining the collection's aesthetic integrity. The use of these materials ensures both durability and a luxurious feel, aligning with the brand's commitment to quality. This collection, available through Dezeen Showroom, is positioned as a sophisticated option for interior design professionals and enthusiasts seeking to incorporate elements of exotic, culturally rich aesthetics into contemporary spaces. The colorways, while natural and earthy, are presented in a manner that allows for versatility in different design schemes, from minimalist to more ornate settings. By offering a blend of traditional inspiration and modern material technology, the Najd collection aims to provide textiles that are both aesthetically compelling and practical for everyday use. Lelièvre Paris emphasizes that the collection not only captures the visual essence of the Najd region but also its spirit, making it more than just a decorative element but a narrative piece within an interior. The choice of Tristan Auer, known for his work in luxury interior design and architecture, underscores the collection's high-end appeal and its potential to elevate diverse living and commercial environments. The collaboration highlights a bridge between traditional cultural motifs and contemporary design sensibilities, resulting in a textile offering that is both timeless and relevant. #TextileCollection #TristanAuer #LelièvreParis #SaudiArabianDesign #EarthTones #GeometricPatterns #TexturedFabrics #InteriorDesign #HomeDecoration

This article explores the significance of an eighth-century Umayyad wool tapestry fragment from the Metropolitan Museum of Art's collection, reconsidering common impressions of Islamic art. While Islamic art is often perceived through its precise and repetitive ornamental motifs, this tapestry fragment offers a counter-example, revealing a more playful spirit in early Islamic textiles. Dated to the mid-eighth century and attributed to the Umayyad Caliphate, the fragment features stylized rosettes and floral motifs that resemble bright flower sprays on a grassy background. The fragmentary nature of the tapestry, lacking selvedges, suggests it was part of a larger furnishing fabric. Reconstructing Umayyad homes from the seventh or eighth century is challenging due to the scarcity of extant textiles. However, wall paintings and mosaics from Umayyad palaces provide insights into their interior decorations. For instance, a fresco at Qusayr 'Amra depicts a heavily draped space with veiled doorways and colonnades, and covered seating, contrasting with the current austere state of these palaces. Similarly, floor mosaics at Khirbat al-Mafjar, edged with tassels, suggest the presence of carpets of similar size, reinforcing the idea of textile use in these grand spaces. The author posits that the floral tapestry fragment might have served as a wool seat or wall furnishing. A key aspect distinguishing this fragment is the irregular design and varied color application of its motifs, a departure from the strict repetitive or symmetrical layouts prevalent in decorative art from later Islamic dynasties. The central part of the textile, a band with a green background, features two rows of medallion-style rosettes. Each of the seven rosettes is distinct in color or form, with individually rendered petals. The flower bouquets on the red band, forming the edge, also exhibit this intentional variation, ensuring no two neighboring motifs are identical. This deliberate variety in repetition is paralleled in the facade of Qasr al-Mshatta, where carved rosettes within hexagons and hexafoils display distinct content while maintaining a general form. The interspaces are densely covered with grape leaves, alongside depictions of lions, griffins, and peacocks. This suggests that such decorative programs were designed to evoke a garden, mimicking the fabled Paradise garden, through a diverse array of flora and fauna. Therefore, the rosette tapestry fragment, whether used as a hanging or a cover, would have functioned as a segment of a portable garden. Spreading the tapestry would have transformed the environment, releasing a miniature Paradise and adding a sense of glamour, as if the owner were seated on a floral lawn or surrounded by fantastic creatures. This interpretation highlights the innovative and artistic intent behind early Islamic textile design, showcasing a sophisticated approach to decoration that went beyond mere repetition to create dynamic and symbolic spaces. #IslamicArt #UmayyadTextiles #TextileHistory #DecorativeArts #MetropolitanMuseum #ArtInterpretation #GardenMotifs #HomeDecor

Rachel B. Hayes, a Tulsa-based artist, creates striking large-scale patchwork textile installations using vivid, translucent fabrics. These temporary artworks are designed to transform perceptions of both indoor spaces and expansive natural environments. Hayes experiments with scale, color, pattern, light, and movement, resulting in joyful and dynamic installations. Her work has been showcased across the U.S. and Europe, frequently appearing as quilted sun sails in courtyards. One of Hayes's recent collaborations, "Horizon Drift" with Black Cube in Denver, featured overlapping triangular elements that cast colorful shadows, reminiscent of her piece "A Moment in Time" in Capri. These temporary installations, typically on view for a few weeks or months, integrate with their surroundings, drawing parallels to the monumental fabric interventions of Jeanne-Claude and Christo. Her richly patchworked or woven creations celebrate light, breeze, and traditional American quilting techniques. Hayes frequently revisits earlier works and site-specific experiments to fuel new designs, finding continuous inspiration and energy in these temporary explorations. She often returns to familiar locations in South Dakota, Missouri, and New Mexico to document her art multiple times, observing how varying light, weather, and landscape changes influence the perception of her pieces. She views many of these works as elements within a broader, long-term artistic vision. Some of Hayes's installations are designed for extended outdoor display, lasting at least five years, which has led her to develop expertise as a "fabric engineer" to ensure the materials withstand the elements while remaining visually impactful. Light, particularly sunlight, is a crucial component in Hayes's artistic process and site selection. For indoor installations, she carefully considers architecture and human movement, often "chasing the sun" to identify areas where light can interact with her textiles, creating reflections and colored shadows. While she utilizes software like Photoshop or Procreate for pattern composition, her primary focus remains on the physical properties of the material and its interaction with specific environments. Hayes's current installations include _Patterned by Nature_ at the Chicago Botanic Garden throughout the summer, _Soft Structures_ at Jane Lombard Gallery in New York City until August 8, and _Body’s First Architecture_ at Ely Center of Contemporary Art in New Haven, Connecticut until August 10. Her semi-permanent works are on display at the International Quilt Museum in Lincoln, Nebraska, and The Gathering Place in Tulsa. Additionally, her flag is currently flown outside Ballroom Marfa in West Texas during gallery hours. #RachelBHayes #TextileArt #SiteSpecificInstallation #Quilting #FabricSculpture #ContemporaryArt #ArtInstallation #TranslucentTextiles #LightArt

Fariha Nasir, a Houston-based, self-taught interior decorator and DIY enthusiast, has gained prominence through her popular home décor and DIY blog, “Pennies for a Fortune.” Her work focuses on budget-friendly DIY projects and home renovations, offering a comprehensive approach to home organization and design that extends beyond simple decluttering. Nasir's blog has cultivated a large community of design and DIY enthusiasts who are inspired by her practical and aesthetic solutions for creating personalized living spaces. Nasir's design philosophy is characterized by her ability to blend her South Asian cultural heritage with contemporary design elements, resulting in unique and culturally rich interiors. Born and raised in Pakistan, she brings a background in fine art and a keen appreciation for rich textiles to her work. She emphasizes the importance of inspiration, noting that a significant aspect of her job is to empower others, particularly women from South Asia, to undertake their own DIY projects, as such activities are not traditionally common in her home region. Her personal journey into interior design began with a builder-grade house she purchased with her husband, Hassaan, and their son, Zaki. Initially lacking experience with power tools, Nasir was inspired by other women on social media who were successfully completing DIY projects. Driven by a desire for a custom home without the budget for professional designers and contractors, she embarked on a self-taught path, learning to use power tools and execute simple projects to achieve a high-end designer look at a fraction of the cost. Over two years, she transformed her 3,400-square-foot house into a cozy, family-friendly space. Nasir's growing influence has led to her work being featured in a reality series titled “Problem Spaces,” which is now available for streaming on HBO Max via Magnolia Network. This series further amplifies her reach, allowing a broader audience to witness her transformations and learn from her DIY expertise. Her dedication to making custom home design accessible and her ability to inspire others have established her as a notable figure in the home décor and DIY community. #FarihaNasir #InteriorDesign #DIYHomeDecor #HomeRenovation #PenniesForAFortune #PakistaniAmerican #CulturalHeritage #ProblemSpaces #HGTV

The article presents an interview between Joy Moyler and Esha Ahmed, focusing on Ahmed’s journey into textile design and the philosophy behind her brand, Makrosha. Esha Ahmed, born in Bangladesh and raised in New York, recounts her early introduction to textiles through her mother’s extensive sari collection in Jackson Heights. These early experiences, including playfully repurposing saris into costumes, sparked her interest in fabrics and fashion. Ahmed's formal education at the Fashion Institute of Technology, where she studied fashion design and later costume preservation and textiles for her master’s, further solidified her passion. Her initial career involved managing designer Peter Marino's extensive textile collection, an experience that broadened her understanding of textiles within interior design, covering commercial, residential, and hospitality projects. This role provided insight into both the creation and application of textiles, exposing her to numerous vendors and artisans. Following her tenure with Marino, Ahmed launched Makrosha, a business specializing in fabric, rugs, and throw pillows. A core mission for Makrosha is to preserve and support vanishing traditional weaving arts globally, ensuring the survival of high-quality, handcrafted textiles. Ahmed collaborates with weavers worldwide, each contributing unique methods and aesthetics to her designs. She also partners with designers for custom textiles and represents Aïssa Dione Tissus, a Senegalese master weaver known for handwoven fabrics. Ahmed draws inspiration from historical fashion design, particularly medieval styles, and shares an affinity for late 18th-century Europe and medieval Spain, periods known for their ornate, colorful, and detailed designs that resulted from cultural fusions. She acknowledges the historical influence of the fashion industry on luxury home textiles, observing how trends from designers like Dries Van Noten often translate into the home market. However, Ahmed expresses concerns about the modern culture of disposability and emphasizes the importance of sustainability and longevity in design. She advocates for investing in high-quality items, such as hand-knotted rugs that can take months to create, intending for them to last generations rather than being treated as disposable goods. Her design process involves starting with inspirations from her antique collection, developing renderings with mills, and collaborating closely with individual makers across different cultures, such as those in Laos, Nepal, and England, to ensure the essence of craftsmanship is maintained. Ahmed stresses that true quality and craftsmanship come from this collaborative, hands-on approach. The conversation highlights the critical need to protect traditional weaving practices from extinction due to increasing mechanization, underscoring Makrosha's role in keeping these artisanal skills alive. #TextileDesign #GlobalWeaving #EshaAhmed #Makrosha #InteriorDesign #SustainableDesign #ArtisanalCraftsmanship #FashionHistory #HomeDecor

Artist and architect Inés Esnal has unveiled her Prism installation, transforming the lobby of a new residential building in New York City. The artwork utilizes colorful elastic ropes to create intricate triangular formations that serve to filter light, producing a dynamic interplay of vivid colors and optical illusions. This installation provides a stark and compelling contrast to the lobby's existing concrete walls, injecting an element of artistic vibrancy into the otherwise stark architectural setting. The Prism installation is characterized by its use of stretched elastic ropes, meticulously arranged to form geometric patterns. These ropes, varying in color, intersect and overlap, creating a complex web that interacts with the ambient light. As light passes through these colored strands, it is fractured and dispersed, casting a spectrum of hues across the lobby space. This optical phenomenon changes throughout the day, depending on the angle and intensity of natural light, offering a constantly evolving visual experience for residents and visitors. The design intention behind Prism is to introduce an element of surprise and visual engagement within a functional architectural space. By contrasting the inherent rigidity and monochromatic nature of concrete with the fluidity and vibrant palette of the elastic ropes, Esnal challenges conventional perceptions of lobby design. The installation effectively redefines the entrance area, transforming it from a transitional zone into an immersive artistic environment. Esnal's work often explores the relationship between art, architecture, and human perception. In Prism, she employs principles of geometry and optics to manipulate space and light, thereby creating an illusory depth and movement within a static structure. The triangular shapes formed by the ropes evoke the concept of prisms, which are known for their ability to refract light into its constituent colors. This not only imbues the space with aesthetic appeal but also invites viewers to contemplate the scientific and artistic principles at play. The installation aims to enhance the sensory experience of the building's occupants, offering a momentary escape from the urban environment. The selection of elastic ropes as the primary material allows for flexibility in form and an ethereal quality that belies the material's strength. This choice also contributes to the lightweight and seemingly gravity-defying appearance of the artwork, further emphasizing its illusory nature. The vibrant colors chosen are intended to evoke a sense of energy and warmth, counteracting the potentially cold aesthetic of modern concrete architecture. The overall effect is one of harmony between the artistic intervention and the architectural context, demonstrating how art can profoundly alter and enrich built environments. #ArchitecturalInstallation #PublicArt #LobbyDesign #InesEsnal #OpticalIllusions #ElasticRopeArt #NYCArchitecture #ColorTheory #GeometricArt

Patricia Urquiola has developed a new collection of ceramic tiles named Cover for the Italian brand Mutina. This collection is one of five new additions to Mutina's product range, and it aims to explore diverse materialities and geometries through unglazed porcelain tiles. The Cover collection is distinguished by three primary textures: Base, Grid, and Nube. These textures can be further customized with a selection of eight distinct patterns, including Bouclé, Daphne, Liberty, Nouveau, Poppy, Rounded, Scarabeo, and Stitch. The designs primarily feature subtle geometric and figurative patterns that are intended to evoke a sense of continuous movement, similar to clouds shifting across the sky. The manufacturing process for the Cover tiles incorporates advanced Continua Plus compaction technology. This method facilitates the application of intricate aesthetic effects on large-format ceramic surfaces, allowing for a broad spectrum of irregular and geometric designs. The technology combines various clays with a micro-grit mixture to establish a foundational pattern, which is then refined using a silk-screen printing technique. This innovative approach enables Mutina to create a virtually limitless array of patterns, characterized by varying intensities and densities of color, even within the limited palette of white, grey, and black. The Cover collection offers tiles in multiple sizes to accommodate diverse design requirements. Large-format tiles, measuring 12 by 240 centimeters, are available in all three textures. Additionally, mid-size tiles (120 by 120 centimeters) and smaller tiles (30 by 120 centimeters) are part of the collection. The color variations within each of the white, grey, and black sets are achieved through differences in the intensity and density of the color application during manufacturing. Urquiola's design philosophy for Cover emphasizes the creation of unique material properties on large slabs, ensuring that the natural grit within the material body serves as a base for subtly contrasting patterns. A significant advantage of the compaction technology used is the enhanced strength and density of the resulting tiles compared to those produced by traditional pressing methods. This increased durability makes the Cover tiles suitable for both floor and wall applications, as well as for both interior and exterior environments. Patricia Urquiola has a long-standing collaboration with Mutina, dating back to 2008 with the launch of her Déchirer range, which Mutina credits with establishing its global reputation. The latest releases also include an extension of the Déchirer range, Déchirer XL, featuring large-format tiles with signature bas-relief decorations designed specifically for wall coverings, available in Gesso, Grafite, and Avana. Alongside Urquiola's collections, Mutina has introduced other new designs, such as Piano by French designers Ronan & Erwan Bouroullec, and Tape and Folded XL by London studio Raw Edges. These product launches coincide with Mutina's opening of a new showroom and a contemporary art exhibition space at its headquarters in Fiorano, Italy. The headquarters building itself was originally designed by architect Angelo Mangiarotti in the 1970s, underscoring Mutina's commitment to design and artistic expression. #PatriciaUrquiola #MutinaTiles #CeramicDesign #InteriorDesign #ProductDesign #ArchitecturalSurfaces #DesignCollaboration

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

The 'Sepid' building, designed by The Shar Group in Qazvin, Iran, is a commercial and residential structure distinguished by its organic, concrete-clad form and futuristic aesthetic. The architectural concept began with three interconnected rectangular volumes, subsequently enveloped by a secondary curved shell. A defining characteristic of the building is the deliberate avoidance of 90-degree angles throughout its interior and exterior, contributing to its unique and forward-looking appearance. To achieve a cohesive and integrated facade, the architects meticulously wrapped the entire building in a bent concrete shell. This primary shell was then augmented with a second layer, designed to accentuate the building's corners and ensure a seamless continuation of its overall form. This layering strategy contributes to the facade's depth and visual complexity. A key design element is the incorporation of multi-sized extruded window frames and scattered square openings across the building's exterior. These elements are strategically placed to create a playful and intriguing effect, appearing as pixels from a distance. The variations in window frame extrusion add a dynamic quality to the facade, preventing it from appearing flat or monotonous. The interplay of curved surfaces with these geometric cut-outs creates a striking visual contrast and enhances the building's contemporary feel. The project encompasses an area of 900 square meters (9,687.5 square feet) and is located on Naderi Blvd in Qazvin, Iran. The Shar Group's approach to the 'Sepid' building highlights an innovative use of materials and forms to create a structure that stands out in its urban context. The design prioritizes an organic flow and visual continuity, challenging traditional rectangular building norms. The integration of commercial and residential functions within this distinct architectural shell further underscores the building's modern and adaptable design philosophy. The use of concrete as the primary cladding material emphasizes durability and a contemporary industrial aesthetic, while the thoughtful placement of windows ensures natural light and views for occupants. This project represents a notable contribution to contemporary Iranian architecture, pushing boundaries with its unconventional shapes and facade treatment. #ArchitectureInIran #ConcreteArchitecture #ResidentialArchitecture #CommercialBuilding #TheSharGroup #Qazvin #FuturisticDesign #CurvedAngles #ExtrudedWindows

Patricia Urquiola has collaborated with Italian brand Mutina to launch Cover, a new collection of ceramic tiles. This collection is one of five new additions to Mutina's repertoire, showcasing Urquiola's exploration of diverse materiality and geometric forms. The Cover collection features unglazed porcelain tiles available in three distinct textures: Base, Grid, and Nube. These textures can be further customized by combining them with a selection of eight patterns, including Bouclé, Daphne, Liberty, Nouveau, Poppy, Rounded, Scarabeo, and Stitch. This variety allows for extensive personalization and design flexibility. A notable aspect of the Cover collection is the inclusion of large-format tiles, measuring 12 by 240 centimeters. These oversized tiles are available across all three textures, a feat made possible by the application of Continua Plus compaction technology. This advanced method facilitates the application of intricate aesthetic effects on large ceramic surfaces. The manufacturing process involves blending different clays with a micro-grit mixture to establish a pattern base, followed by a silk-screen printing technique to finalize the design. This innovative approach enables Mutina to produce an almost limitless array of irregular, figurative, and geometric patterns, offering a unique visual landscape reminiscent of moving clouds in the sky. In addition to the large-format tiles, the collection offers mid-size tiles (120 by 120 centimeters) and smaller tiles (30 by 120 centimeters). The color palette for the Cover collection is confined to white, grey, and black. However, the manufacturing process allows for variations in the intensity and density of these colors, resulting in a range of greyscale shades within each color set. Urquiola's objective was to create large, irregular patterns with varying color intensities and densities, evoking the dynamic and ever-changing appearance of the sky. The Continua Plus compaction technology not only enhances aesthetic possibilities but also contributes to the structural integrity of the tiles. These tiles are engineered to be stronger and denser compared to those produced using traditional pressing techniques. Consequently, the Cover tiles are versatile and suitable for both floor and wall applications, accommodating both interior and exterior environments. This durability and adaptability make them a practical choice for a wide range of design projects. Patricia Urquiola has a longstanding partnership with Mutina, dating back to her Déchirer range launched in 2008. The Déchirer collection is recognized by Mutina as a pivotal release that differentiated the company in the global tile market. Mutina's recent product launches also include an expansion of the Déchirer range, named Déchirer XL. This extension features large-format tiles that allow the characteristic bas-relief decorations to span greater surface areas, minimizing the number of joints between tiles. The Déchirer XL unglazed porcelain tiles are specifically designed for wall coverings and are suitable for both indoor and outdoor use, available in Gesso, Grafite, and Avana colors. Further expanding their offerings, Mutina has introduced Piano, a casual collection by French designers Ronan & Erwan Bouroullec, and two designs by London-based studio Raw Edges, named Tape and Folded XL. Coinciding with these product releases, Mutina has also inaugurated a new showroom and a contemporary art exhibition space. Both facilities are situated at the brand's headquarters in Fiorano, Italy, a building originally designed by architect Angelo Mangiarotti in the 1970s. These developments highlight Mutina's commitment to design innovation and its engagement with the broader creative community. #PatriciaUrquiola #Mutina #CeramicTiles #CoverCollection #InteriorDesign #MaterialInnovation #HomeDecoration #DesignCollaboration #ArchitecturalFinishes

This article from Dezeen Showroom highlights five distinct tile collections from the Italian manufacturer Marazzi, all listed on the platform in 2025. Marazzi, established in 1935, is known for producing a wide range of tiles for residential, commercial, and hospitality projects, aiming to preserve Italian tile-making traditions through time-honored design and manufacturing methods. The featured collections demonstrate Marazzi's versatility in aesthetics, materials, and applications. The first collection presented is Marazzi's Terramater tiles, which are designed to evoke the look of vintage ceramics. These tiles are offered in seven glazed colorways, each harmonizing with the material's inherent hue to create surfaces with rich textures. In addition to the diverse color options, the Terramater tiles provide two distinct surface patterns: the linear Ritmo and the lozenge-shaped Losanga, allowing for varied aesthetic outcomes. Next, the article introduces "The Top" by Marazzi, a product characterized by its exceptional versatility. Made from porcelain stoneware, these slabs are not limited to traditional wall and floor applications but can also be used to clad various furnishings such as cabinets and countertops. "The Top" collection features a range of marble- and stone-look patterns, catering to a wide array of interior design preferences and styles. The existing Lume tile range from Marazzi has seen an expansion with the introduction of four new colorways: Bone, Caramel, Emerald, and Ocean. This collection is distinguished by its zellige-style aesthetic, intentionally crafted to impart a handmade appearance to the tile surfaces. The expansion also includes new 3D structures, such as Rake, further enhancing the tactile and visual appeal of the Lume series. Another significant collection is the Mystone Pietra Ligure tiles, which draw inspiration from slate. These tiles are named after the slate mined in Italy's Liguria region and accurately replicate the dark grey, moody surface of natural slate. Marazzi utilizes its advanced 3D Ink technology to achieve a realistic surface texture for these tiles, making them suitable for both indoor and outdoor applications due to their authentic appearance and durable composition. Finally, the Slow Cold tile collection is highlighted, featuring an aesthetic that combines the texture of rammed earth with cool-toned hues. Rammed earth is an ancient building technique, and these tiles aim to capture its distinctive look. When installed, the Slow Cold tiles create a mottled and textural finish across various surfaces, suitable for both interior and exterior environments. This range includes six different hues, offering diverse options for designers seeking a natural yet contemporary feel. #MarazziTiles #CeramicDesign #InteriorDesign #PorcelainStoneware #TileCollections #SurfaceMaterials #HomeDecoration #ArchitecturalSurfaces

Exotic tiles offer a versatile and historically rich design element, capable of transforming any space with their unique patterns and vibrant colors. These decorative tiles have a storied past, appearing in diverse architectural styles from medieval mosques to baroque Iberian palaces and rococo Hôtels Particuliers, demonstrating their enduring appeal across boundaries and centuries. Their inherent versatility is a key characteristic, allowing them to be employed in various capacities within a home. When used with moderation, exotic tiles can introduce a subtle yet impactful layer of color and intrigue. For instance, they can serve as an elegant substitute for traditional wainscoting, adding visual depth and character to a room. Alternatively, integrating them as an accent around a fireplace can create a focal point, drawing the eye and infusing the space with a sense of refined artistry. The strategic placement of these tiles, even in small areas, can significantly elevate the aesthetic of a room, providing a refreshing and unexpected design touch. For those seeking a more dramatic transformation, covering entire walls with exotic tiles creates an unparalleled, sensual, and enveloping atmosphere. This approach allows the intricate patterns and rich hues to fully dominate the space, enveloping inhabitants in a cocoon of artistic expression. The resulting environment is not merely decorated but rather imbued with a distinct personality and a deep sense of cultural heritage. Whether applied sparingly or extensively, the outcome is consistently characterized by its refreshingly unexpected nature. This article showcases a curated selection of exotic tiles and their potential applications, drawing inspiration from renowned designers and specialized manufacturers. Michael Smith, for example, utilizes blue-and-white tiles in a bathroom to create a richer, more sophisticated version of wainscoting. Mosaic House offers a blue-and-white geometric tile (HPB41) ideal for kitchen backsplashes, while Dutch Delft Tiles features the 'Big Flower' design with a prominent tulip motif. Country Floors presents 'Acanthus Field,' tiles with an old-world charm and built-in patina, and 'Scenes in Blue,' featuring a nautical Dutch theme. Jeffrey Court's 'Setubal Traditional' draws from Portuguese designs, featuring painterly whorls crafted by artists using horsehair brushes. Imports from Marrakesh offers the 'Hourglass' tile with bottle-green accents and the 'Hexagon Star,' a versatile design with Moroccan roots and modern appeal. Ann Sacks' 'Ulama Desenli' provides a vivid, contemporary interpretation of traditional Iznik tiles. Lascaux Tile's Spanish-style 'Anniso' combines vivid hues with an antique finish, suitable for stair treads or fountains. Renaissance Tile & Bath's 'Alhambra Mosaic Field' features a glimmering gold-and-ivory Moorish motif. Filmore Clark's 'Capelistas' offers a blue-and-white design with inky depth, and Exquisite Surfaces' 'Carocim Reproduction (232)' balances a florid pattern with toned-down colors. Popham Design's 'Zig Zag' creates a flame-like effect when installed over large surfaces. Walker Zanger's 'Chinois' blends various influences in restrained hues for a graceful effect. Lastly, St. Tropez Boutique's 'Iznik (01)' boasts swirling green and blue vines with crimson blooms, perfect for dramatic wall coverings, and an inspirational design from Alberto Pinto balances a strong, punchy pattern with creamy white woodwork. Each example highlights how exotic tiles, sourced from various regions and design traditions, can be integrated into contemporary interiors to create spaces that are both historically resonant and visually striking. The article aims to inspire designers and homeowners to explore the rich possibilities that these decorative elements offer, moving beyond conventional tiling options to embrace a more eclectic and artful approach to interior design. #ExoticTile #InteriorDesign #HomeDecoration #TileInspiration #DecorativeTiles #GlobalDesign #PatternedTiles #BathroomDesign #KitchenDesign

Indira Kithsiri, an interior designer, was born in the Swiss Alps to a Sri Lankan father and Swiss mother, which led to a cross-continental upbringing between Verbier, Switzerland, and Colombo, Sri Lanka. This dual heritage profoundly influences her art collection, which she describes as comprising “contemporary works that are often dark, yet charged with emotion and meaning.” Her collection features artists such as Chamila Gamage, Mayantha Perera, and Firi Rahman. Kithsiri's art collecting began in 2017 with the acquisition of *Eve* (2017) by Priyantha Udagedara. This painting, depicting moth-like silhouettes over a pregnant woman, symbolizes natural motifs and emotional depth, reflecting themes of harshness and hope that resonated deeply with Kithsiri. This initial acquisition established the direction for her collecting journey, which she integrates into her professional work as the founder of Mountain Heritage. Her company specializes in transforming heritage properties, particularly barn houses in Verbier’s old village, into modern homes that respect traditional aesthetics, often incorporating art into their designs. Kithsiri's interior design practice is characterized by vibrant and cozy spaces that invariably feature art. Her Swiss-Sri Lankan identity shapes her aesthetic, enabling her to blend elements from both cultures. For instance, her chalet designs might include an abstract portrait by Brussels-born, Colombo-based artist Fabienne Francotte, or monochromatic bird artworks by Firi Rahman, creating a connection to her Sri Lankan roots within a Swiss setting. She attributes her appreciation for precision and craftsmanship to her Swiss upbringing, and her resilience, historical sensitivity, and love for vibrant expression to her Sri Lankan heritage. Although she was primarily exposed to art through travel during her childhood, Kithsiri was the first in her family to become an art collector, drawn by colors, textures, and the transformative power of light. Her engagement with Sri Lankan art stems from a fascination with how contemporary artists address the country's history. Kithsiri is particularly motivated to collect works that preserve and amplify voices she believes need to be heard. Her collection includes pieces by Arjuna Gunarathne, who explores themes of belonging, loneliness, and immigration, and Malki Jayakody, whose work challenges colonial narratives of Sri Lanka. A significant piece in her collection is from Arulraj Ulaganathan’s “Pullakambura” series, which draws on his experiences as an artist from the Malaiyaga Tamil tea plantation worker community. Ulaganathan's art, created with various media including tea stains, narrates the struggles and resilience of his community, using the motif of woven baskets to symbolize the contrast between maternal comfort and the hardships of plantation life. Kithsiri's recent acquisition, *Red Saree* (2025) by Mayantha Perera, exemplifies her commitment to supporting emerging Sri Lankan artists. This painting continues the thematic thread of confrontation while bringing fresh energy and perspective to her collection. Beyond collecting, Kithsiri's dedication to Sri Lanka is evident through her non-profit organization, SAHANA Sri Lanka, which works to improve living conditions and educational opportunities for underprivileged youth and women. Another striking artwork in her collection is Fabienne Francotte’s *It Did (Not) Happen* (2021), a portrait with expressive brushwork and eyes that convey profound emotion, which hangs in her dining room. Kithsiri prefers honest and even unsettling art over fashionable or safe pieces, seeking works that leave a lasting personal impact and resonate with her on a deeper level, reinforcing her belief that art collecting is about nurturing stories and voices rather than merely accumulating objects. #IndiraKithsiri #ArtCollecting #InteriorDesign #SriLankanArt #SwissArt #DualHeritage #ContemporaryArt #ArtMarket #CollectorProfiles

Many homeowners struggle with adding color and vibrancy to their living spaces without resorting to painting or expensive artwork. HGTV designer Erin Napier offers a practical and stylish solution to this common decorating dilemma: incorporating suzani quilts. Napier, known for her work on HGTV renovation shows, suggests that these colorful textiles can instantly revitalize a room, providing a focal point and unifying various design elements. Napier herself uses a suzani quilt to liven up her "beige oatmeal color" upholstered couch. Suzani, a traditional textile art form originating from Central Asian countries like Uzbekistan and Kazakhstan, is characterized by its vivid colors and intricate floral or geometric patterns. These quilts offer several advantages for home decoration. Firstly, their busy and vibrant designs immediately capture attention, making a space feel more dynamic and lively, even if the surrounding walls are neutral or sparsely decorated. Secondly, the diverse range of hues typically found in suzani quilts allows them to effortlessly tie together different elements within a room. This eliminates the need to meticulously match paint colors or decor items, as a single quilt can incorporate shades present in various furnishings, such as an old sofa and a new coffee table. By draping a suzani quilt over a sofa, bed, breakfast nook, or even an entryway bench, homeowners can significantly transform their home's interior, infusing it with color, excitement, and a sense of cohesion. The versatility of suzani quilts extends to their styling. For those who prefer floral-patterned suzanis, it is advisable to complement these with similar motifs in other decor elements to ensure a harmonious look. This could involve incorporating floral bowls in the kitchen, botanical-themed wall art, or even bringing indoor foliage to echo the quilt's design. Conversely, geometric suzani quilts can be paired with mid-century furniture or cubist prints to maintain a consistent aesthetic. Even in homes that already feature patterns, suzani quilts can be integrated effectively. The key lies in intentional and careful styling to prevent the space from becoming chaotic. One effective technique is to combine patterns of different sizes. For instance, a suzani quilt with small, intricate details can be balanced by pairing it with larger, more simplified forms in other patterns. This creates visual interest without overwhelming the eye. For those who embrace a more eclectic style, placing a suzani quilt alongside similar patterns can also work, provided there is a shared color scheme to ensure a cohesive blend. This method allows for a playful yet unified approach to home decor, making it easier to add a distinctive splash of color without the commitment of paint or the expense of fine art. #ErinNapier #HGTV #HomeDecor #SuzaniQuilt #ColorPop #InteriorDesign #DesignHacks #TextileArt #HomeStyling