The 'micro mosaic' at Holkham Hall that uses a fascinating, unusual technique pioneered by the Vatican

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

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

Casa Ceramica Tiles, a company based in Manchester, has created an optical illusion floor using 400 individual porcelain tiles for the entrance of their showroom. Despite appearing warped, skewed, and undulating when viewed from different angles, the floor is in fact completely level. The design aims to challenge perceptions of tile usage and create an immersive, illusion-themed experience for visitors. The inspiration behind this unique installation was to exceed expectations and demonstrate the versatile applications of tiles. This innovative design has garnered significant attention online due to its mind-bending visual effect. The article provides additional photographs and timelapse videos documenting the construction process of this striking and deceptive floor. The project highlights Casa Ceramica's commitment to creative and unconventional approaches to tile design, transforming a functional space into an artistic and thought-provoking installation. The company's social media channels and website offer further insights into their work and the creation of this specific project. The use of a carefully arranged pattern of tiles creates a trompe l'oeil effect, making the flat surface appear three-dimensional. This artistic application of tiling showcases how materials can be manipulated to create engaging and surprising visual experiences within architectural spaces. The floor challenges viewers' perception of reality and encourages a second look, fulfilling the company's goal of creating an entrance themed on illusions. The detailed arrangement and precise placement of each of the 400 tiles contribute to the overall success of the optical illusion, making it a notable example of contemporary interior design and artistic expression. #CeramicTiles #OpticalIllusion #FloorDesign #CasaCeramica #ManchesterShowroom #TileArt #InteriorDesign #ArchitecturalDesign #TrompeLoeil

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

In the quiet Italian town of Spilimbergo, the Scuola dei Mosaicisti del Friuli stands as a unique institution dedicated to the preservation and evolution of mosaic art. Established in 1922, the school was founded to formalize training for local artisans and maintain a mosaic tradition deeply rooted in the region's history, extending back to the Roman Empire. Today, it remains the sole academic institution globally focused exclusively on mosaic arts, attracting students from diverse backgrounds and ages, from recent high school graduates to seasoned professionals, all seeking to master this intricate craft. The three-year program at the school is rigorous, immersing students in historical mosaic techniques such as Greco-Roman patterns and Byzantine compositions, before encouraging experimentation with contemporary, freeform designs. Annually, approximately 40 students are admitted, but only about 15 successfully complete the full curriculum, earning the esteemed title of _maestri mosaicisti_ (mosaic masters). A select few, typically six, further pursue a fourth year, likened to a master's degree, to refine their skills even more. Director Gian Piero Brovedani emphasizes that becoming a maestro mosaicista demands significant effort and discipline, highlighting the craft's humbling and exacting nature, which fosters patience, attention to detail, and an appreciation for repetitive tasks. Mosaic creation is an exceptionally precise art form, requiring artists to meticulously arrange hundreds, or even thousands, of tiny pieces called _tesserae_—some as small as 0.5cm—to construct elaborate patterns and lifelike scenes. These tesserae, made from materials like marble, glass, _smalto_ (opaque glass tiles), and shells, necessitate careful craftsmanship and an intuitive understanding of rhythm and placement. Cristina de Leoni, a third-year teacher, notes the collaborative and selfless aspect of mosaic-making, where individual tiles only gain significance when combined with others, creating a collective artwork without emphasizing individual ego. The rich history of mosaics, tracing back to Mesopotamia in the 3rd millennium BCE and spanning various cultures including Greek, Maya, Byzantine, and Islamic civilizations, underscores its reliance on anonymous virtuosity rather than individual artistic fame. Friuli-Venezia Giulia has remained a stronghold of this tradition, fueled by an abundance of stones from the Tagliamento river and strong cultural links to Venice. In the 19th century, Friulian artist Gian Domenico Facchina revolutionized the craft with the _rovescio su carta_ (reverse on paper) method, enabling off-site assembly of large mosaic panels, a technique first showcased in the foyer of Paris' Opéra Garnier. Today, Friulian mosaicists, many trained in Spilimbergo, have contributed to prominent projects worldwide, from Rome's Foro Italico to the New York City subway at the World Trade Center, and from Jerusalem's Church of the Holy Sepulchre to galleries in Tokyo. The art form continues to evolve, embracing both precision and expression. Purnima Allinger, a student, describes mosaics as a meditative yet expressive craft that keeps artists fully engaged. Amos Carcano, a Swiss maestro mosaicista, highlights the blend of manual work, invention, and exploration of texture, color, and patterns in contemporary mosaics. Carcano is currently part of a team working on a monumental 1,265-sq-m mosaic floor for the school's courtyard, depicting Friuli's native flora and fauna. The school operates as a _bottega_ (workshop), where students learn through hands-on practice, as explained by mosaic history teacher Danila Venuto. Visitors can also engage with the art through _corsi brevi_ (short courses) ranging from four-day to week-long programs, offering an introduction to mosaic creation. Guided and independent tours provide access to an archive of over 800 mosaic works and opportunities to observe students and masters at work. Spilimbergo itself serves as an open-air gallery, with mosaics adorning buildings, shops, and restaurants. The town also hosts mosaic shops and showrooms, displaying works by alumni, and offers visits to Fabbrica di Mosaici Mario Donà, a historic kiln producing enamels for mosaics. The region's natural landscape, particularly the _grave_ (river-washed stones) from the Tagliamento and the Magredi plain, provides the essential materials and inspiration for many Friulian mosaics, underscoring the deep connection between the art and its environment. Mosaic-making is a central part of Friuli's cultural identity, and the school invites curious individuals to partake in this enduring legacy. #MosaicArt #ItalianCraftsmanship #ArtEducation #Spilimbergo #FriuliVeneziaGiulia #AncientTradition #ContemporaryArt #ArtisanalSkills #TravelDestination

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

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

Mosaic art involves creating images from small tiles or materials like rocks or glass, which can be integrated into home and garden features. The decorative arts market has shown strength, driven by consumer desire for unique home personalization. This guide identifies top suppliers and essential materials for individuals interested in creating or selling mosaic art. Several online and brick-and-mortar retailers offer a wide array of mosaic supplies. Amazon provides a comprehensive inventory including glass tiles, glue, and starter kits with fast delivery options. Etsy, a marketplace for handmade goods, not only sells finished mosaic pieces but also offers various supplies, including glass tiles and discounted leftover materials from other sellers. For specialized mosaic resources, Mosaic Art Supply is an online retailer focusing exclusively on mosaic materials, tools, and educational content. Delphi Glass specializes in stained glass materials and mosaic tiles, offering colorful pieces, tools, and tutorials. WitsEnd Mosaic, an established online supplier, provides a diverse selection of materials categorized by size, style, or color. Major craft store chains like Michael’s offer glass and other supplies both in-store and online, catering to those who prefer mixed media or require bases for mosaics. BLICK, an artist supply retailer, offers kits for beginners and advanced tools and materials. Mosaic Heaven is solely dedicated to mosaic materials, featuring a wide selection of tiles and stones categorized by collection or project parameters. Large retailers such as Walmart offer basic mosaic supplies like tile and grout, alongside furniture and other large items suitable as mosaic bases. Lastly, eBay presents a dynamic selection of art supplies from various third-party sellers, including unique or vintage items and deals on mosaic supplies. Essential mosaic art materials include ceramic tiles, known for durability and versatility in shape, size, and color, suitable for both indoor and outdoor applications. Glass tiles provide a translucent quality and diverse colors, creating radiant effects. Smalti, specialized richly colored glass tiles, offer depth and unique texture, traditionally used in Byzantine mosaics. Natural elements like pebbles and stones introduce a rustic touch, while seashells can add an oceanic feel. Stained glass, though often used in windows, can be repurposed for mosaics, bringing vibrant colors when illuminated. Mirror pieces add a reflective, dynamic quality, and beads allow for intricate detailing. Beyond the primary materials, several adhesive and foundational supplies are crucial. Mosaic adhesive is vital for securing pieces to various surfaces, with choices including PVA-based glues, epoxy resins, or tile adhesives based on the project's specifics. Grout fills gaps between pieces, sealing them and providing a finished look, available in colored or plain options. Thinset acts as both an adhesive and grout for specific projects. Mesh serves as a foundation, allowing artists to create designs before transferring them to their final location. Paper is used for creating patterns or templates, facilitating the “reverse method” of mosaic creation. Drawing or sketching tools help outline designs on the base material. Sealer protects the finished mosaic from moisture, particularly for outdoor pieces, and preserves colors. The base for a mosaic can be any sturdy surface, ranging from wooden boards, concrete slabs, and furniture to walls, glass items, metal surfaces, mirrors, and even old musical instruments. Various tools are also indispensable for mosaic art. Nippers are small clippers for precise shaping of tiles. Tile cutters, larger tools, are used to create tiny pieces from different materials. Sponges are essential for wiping away excess grout during the grouting process. A trowel applies adhesive evenly to the mosaic surface. Buckets are needed for mixing grout or thinset. Tweezers aid in placing tiny mosaic pieces accurately for intricate designs. Safety glasses are crucial for eye protection when cutting materials. Rubber gloves protect hands during grouting. Mallets assist in breaking harder materials like stones. Tile spacers ensure consistent gaps between pieces. Mosaic stepping stone molds create decorative garden pieces. A grout float spreads grout smoothly, and a grout mixer ensures proper consistency for larger projects. Sandpaper or files smooth sharp edges of tesserae. The cost of making a mosaic varies from approximately $25 to over $200 per square foot, depending on project size and material quality. Selling mosaic art can be profitable with a solid pricing strategy that accounts for supplies, time, business expenses, and marketing. #mosaicArt #artSupplies #handmadeBusiness #craftSupplies #homeDecor #glassTiles #ceramicTiles #DIYArt

The Italian Ministry of Culture announced in mid-December the discovery of a remarkable mosaic near the Colosseum in Rome, within the Archaeological Park of the Colosseum. This area encompasses historical sites such as the Roman Forum, an aristocratic residential area on the Palatine hill, and Emperor Nero’s Domus Aurea. The newly uncovered mosaic dates back to the late Republican era, approximately 2,100 years ago, and was found in a luxurious townhouse. This ancient residence, or domus, featured elaborate designs crafted from shells, glass, white marble, and Egyptian blue tiles, showcasing decorative styles likely influenced by Near Eastern monarchies. The discovery highlights the opulent tastes of the Roman elite during a period marked by escalating political tensions that eventually led to civil war and the end of the Roman Republic by the mid-1st century B.C.E. The owner of this particular villa, possibly a senator, used such extravagant displays to project their wealth and high social standing. The domus was identified during an archaeological survey of the ancient Vicus Tuscus, a significant commercial thoroughfare connecting the Roman Forum to a port on the Tiber River. The structure of the house includes several terraced levels and a substantial banquet room. It is in this banquet room that the extraordinary mosaic was found, completely covering one wall. The mosaic's background features four domed aedicules, or shrines, adorned with columns and floral details. The intricate imagery within the mosaic depicts piles of weapons, tridents, carnyces (Celtic war helmets often shaped like a boar’s head), and low, flat ships called triremes, equipped with large banks of oars. These elements suggest that the homeowner might have achieved victory in military battles. The mosaic walls were initially unearthed in 2018, but excavation efforts are ongoing and are expected to continue into the current year. Alfonsina Russo, the director of the Archaeological Park of the Colosseum, has expressed the team's commitment to fully uncovering the domus. Once the excavation is complete, plans are in place to make this historically significant site, considered one of ancient Rome's most evocative locations, accessible to the public as soon as feasible. This discovery offers valuable insights into the artistic practices, social values, and daily lives of affluent Romans over two millennia ago. #Archaeology #AncientRome #RomanMosaics #Domus #Colosseum #HistoricalDiscovery #RomanArt #ArchitecturalDesign

ZNAK introduces a new product called 'Mosaic wall decals,' designed by Martins Ratniks, following the success of their tear-off wallpaper. These new wall decals offer a creative and customizable approach to interior decoration. Unlike traditional wallpaper or simple stickers, ZNAK Mosaic wall decals consist of multiple colorful, self-adhesive pieces. Each set includes a stencil, allowing users to precisely arrange the individual components to form various mosaic patterns and designs on their walls. This system ensures consistent spacing and a polished appearance, even for those without extensive design experience. The innovative aspect of ZNAK Mosaic wall decals lies in their versatility and ease of application. The self-adhesive nature eliminates the need for messy glues or professional installation, making it a user-friendly option for home decorators. The inclusion of a stencil simplifies the design process, enabling individuals to achieve intricate and aesthetically pleasing wall art with relative ease. This product empowers users to personalize their living spaces by arranging the colorful pieces into countless unique configurations, transforming plain walls into vibrant focal points. The product builds on ZNAK's reputation for innovative wall coverings, as highlighted by their previously popular tear-off wallpaper. The Mosaic wall decals provide a fresh alternative for those looking to inject color, pattern, and artistic expression into their homes without permanent commitments. The design by Martins Ratniks emphasizes both functionality and aesthetic appeal, catering to a modern sensibility that values customization and ease of use in home decor. This solution is ideal for individuals seeking to enhance their interior environments with dynamic and personalized visual elements, offering a blend of artistic freedom and structural guidance. #WallDecals #Wallpaper #HomeFurnishings #InteriorDesign #MartinsRatniks #ZNAK #DIYDecor

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

Designers are increasingly drawing inspiration from English interiors, and tapestries are emerging as a prominent antique item in stylish spaces. These textiles are being embraced to introduce warmth and character into modern interiors, moving away from formal perceptions to appear cozy and confident. Whitney Romanoff of Meet West notes that tapestries instantly add mystery, romance, and softness, captivating with their historical craftsmanship and visual narratives. This trend signifies a shift towards cultivating atmosphere, reminiscent of English country houses where layered textures, mixed patterns, and a lived-in feel are valued over excessive polish. Modern applications of tapestries emphasize rich, moody aesthetics, often featuring velvets, fringe, and pastoral scenes that contribute texture and depth, creating an intimate, cocooning effect in living spaces and bedrooms. The renewed appeal of tapestries aligns with a broader desire for personalized rather than impeccably polished rooms. Designer Sarah Stacey highlights that tapestries are classic, versatile, and can function as wall art, a means to conceal televisions, or even as material for pillows and upholstery. She notes their ability to read as almost neutral despite intricate designs due to their non-repeating patterns. The growing appreciation for handmade items in an increasingly AI-driven world also contributes to the timing of this trend. For individuals seeking impactful decor without committing to extensive gallery walls or large paintings, a tapestry offers an accessible solution to complete a large wall. Designers recommend specific strategies for styling tapestries. Crystal Sinclair appreciates the texture antique tapestries bring, using them to introduce a sense of history and balance to modern environments. She advocates for pairing them with contemporary furniture to avoid a heavy or theatrical feel, emphasizing that the textile's age becomes an asset when contrasted with clean-lined pieces. Sinclair advises homeowners to be bold with their choices, suggesting that a tapestry should be a room's focal point. Both Stacey and Chiara de Rege agree on the importance of scale, encouraging oversized pieces that can extend almost wall-to-wall or behind furniture, making the layering appear intentional and allowing the tapestry to define the space. Achieving a current aesthetic with tapestries hinges on contrast. Designers stress the importance of combining them with modern furniture, streamlined shapes, or unconventional materials. De Rege particularly enjoys the dynamic tension created by juxtaposing very old tapestries with contemporary elements like steel consoles or modern seating, describing the effect as both grand and subtly satirical. The objective is not to replicate historical period rooms but to use the tapestry as a grounding element, allowing the rest of the decor to feel fresh and contemporary. When sourcing, designers overwhelmingly favor vintage pieces for their unique character and inherent narrative. Sinclair emphasizes the challenge and reward of finding suitable vintage tapestries, while Stacey often searches auctions, flea markets, and online marketplaces. De Rege encourages selecting pieces whose stories resonate with the client and project. In an era where warmth, personality, and thoughtful design are highly valued, tapestries provide a unique blend of intimacy, layering, and groundedness, offering a sense of escapism that aligns with current design sensibilities. #InteriorDesign #HomeDecor #TapestryTrend #AntiqueDecor #DesignInspiration #EnglishInteriors #TextileArt #VintageHome

The article reflects on the artistic legacy of Mark Podwal, who passed away at 79, with a particular focus on his last major work: a Jewish Zodiac mosaic floor installed at the Museum at Eldridge Street. Podwal, known for his prolific career as an artist, author, and dermatologist, is described as a polymath whose work blended tradition with modern interpretation. The author recalls a personal encounter with Podwal in May 2023 at an exhibit at Eldridge Street, a 19th-century synagogue on the Lower East Side. Podwal was showcasing his modern adaptations of 16th-century woodcuts from the "Sefer Minhagim" (Book of Customs). Examples of his artistic modernization include adding a microwave to a scene of matzo-baking Israelites and a "Monty Python-esque hand" with a scalpel to a bris scene. During this meeting, Podwal wore a rosette from the French Ministry of Culture, highlighting his international recognition as an officer of the Order of Arts and Letters. He patiently explained the rabbinic sources that informed his contemporary artistic choices. The article mentions a previous review by the author of Podwal's "Jewish Bestiary," where the author had expressed disappointment with Podwal's depiction of the Leviathan. Podwal later clarified that the seemingly ordinary fish in his artwork was meant to encircle the entire Earth, a detail the author admits to having overlooked, acknowledging Podwal's valid critique. Podwal's extensive body of work spanned various mediums and venues, including designing posters for Metropolitan Opera productions (particularly those of Mozart, his favorite composer), creating textiles for synagogues in the Czech Republic, and illustrating books, notably those of Elie Wiesel. His final major project, the Jewish Zodiac mosaic, was particularly meaningful to him, especially given his roots in New York City. The mosaic, installed in the vestibule of the Eldridge Street synagogue's sanctuary, features a vibrant color palette, a departure from his earlier black-and-white editorial cartoons for The New York Times. Podwal's son, Ariel, noted that despite being a mosaic, it retained the distinct qualities of his father's painted lines. Two artisans from Progetto Arte Poli in Verona, Italy, were brought in for the installation, which Podwal was able to oversee before its unveiling in June. The mosaic is rich in historical and religious research, combining traditional zodiac motifs with corresponding Hebrew months and letters, infused with Podwal's characteristic whimsy. Notable examples from the mosaic include Gemini depicted as the twin tablets of the law, received in the month of Sivan, instead of human twins. Libra (Tishrei) features scales of justice balanced with a shofar, symbolizing the judgment of Yom Kippur. Pisces (Adar) shows two fish with hamantaschen heads, a nod to Purim, swimming in an aleph. The article details how these images are designed to provoke questions and encourage learning about Jewish tradition and symbolism, a purpose Podwal highly valued. The mosaic's visual impact, with its shimmering blue tiles and gold flecks, complements the synagogue's other architectural features, including Kiki Smith’s rose window. The article concludes by emphasizing that photographs do not fully capture the vibrancy and depth of Podwal's mosaic, underscoring its significance as a lasting reminder of his artistic genius. #MarkPodwal #JewishArt #EldridgeStreetMuseum #MosaicArt #JewishZodiac #CulturalHeritage #NewYorkCity #SynagogueArt #ContemporaryJewishArt

Drag And Drop, a Romanian design and manufacturing studio co-founded by Madalin Gheorghe and Dragos Sabareanu in 2019, is known for its innovative approach to design, merging advanced technology with artisanal techniques. The studio's ceramic collection showcases this philosophy by reimagining the function and aesthetics of everyday objects, specifically vases. The creation process leverages a large 3D-ceramic printer to produce intricate patterns, which are developed using sophisticated algorithmic modeling software. Throughout the design and manufacturing process, a strong emphasis is placed on sustainability, aesthetic appeal, and overall quality. The collection features five distinct vase designs, each drawing inspiration from natural patterns and traditional craftsmanship. The 'Intertwined' vase, for instance, is characterized by its organic, interwoven geometric pattern, reminiscent of growth structures found in tree bark and root systems. This unique design is achieved through 3D printing using 100% natural clay. While the interior of the Intertwined vase is hand-glazed, its exterior maintains a matte finish, a consistent characteristic across the entire ceramic collection. This contrast highlights the intricate textures created by the 3D printing process. Another design, 'Bulky,' is offered in three different sizes. This vase features a textile-like pattern that interacts with light throughout the day, creating varying visual effects. The design encourages tactile engagement, inviting individuals to explore its geometric forms and textures through touch. This interactive element adds another dimension to the appreciation of the piece, allowing for a more intimate connection with its design and material. The 'Ripple' vase demonstrates the studio's ability to translate complex mathematical formulae into aesthetically pleasing natural patterns. Its design mimics the visual effect of rippling liquid, such as the concentric circles formed when a stone is dropped into water. This piece exemplifies how technology can be used to replicate and enhance natural phenomena, creating objects that are both visually striking and conceptually rich. The wave-like pattern provides a sense of movement and fluidity, despite the static nature of the ceramic material. The 'Kilim' vase pays homage to the traditional tapestry-weaving methods employed in regions historically part of the Persian Empire. This design represents a contemporary reinterpretation of an ancient craft, demonstrating a harmonious blend of traditional artistry and modern industrial design. By translating the intricate patterns of kilim carpets into a 3D-printed ceramic form, the studio bridges the gap between historical techniques and cutting-edge manufacturing, creating a piece that is culturally resonant and technologically advanced. Finally, the 'Melting' vase directly incorporates its manufacturing process into its aesthetic. The design plays on the suppleness of wet clay during the layering process of 3D printing, creating the illusion of a soft object that appears to be melting. This visual effect is achieved despite the hard, finished ceramic product, creating an intriguing juxtaposition. The Melting vase challenges perceptions of material properties, making a rigid object appear fluid and malleable, highlighting the transformative potential of 3D printing in ceramic art. #3DPrinting #CeramicVases #NatureInspiredDesign #AlgorithmicModeling #SustainableDesign #HomeDecor #ModernCraftsmanship #DragAndDropDesign #InteriorDesign

This article explores the transformation of a 300-year-old London building, which has served various purposes from the Blewcoat School in the 1700s to an information center and a bridal boutique, into the first brick-and-mortar outpost for design firm Studio Ashby. The new space functions as both a Sister showroom and an office. Founder and creative director Sophie Ashby faced significant challenges due to the building's Grade I historical status, which imposed strict regulations on even minor alterations, such as hanging artwork or touching up paint, requiring lengthy approval processes. Despite the hurdles and a two-year-long negotiation period with preservation councils, Sophie Ashby was determined to realize her vision for a vibrant Studio Ashby hub, complete with community events and a comprehensive fabric swatch library. She describes the design process as a "surface intervention" due to the inability to modify the building's original framework. The decision to invest in a physical gathering space during a pandemic was driven by Ashby's belief in the immersive experience of a well-designed store, aiming to replicate that captivating atmosphere for her team and clients. The design approach treated the workspace as a client project, intending for it to be a physical representation of Studio Ashby's design philosophy. The main floor is organized into areas resembling a home's parlor, living room, and dining area, with four existing columns naturally defining these zones. A round table serves as a breakfast nook for client consultations, while a deep sofa and leather armchair create a welcoming space for weekly happy hours. Privacy in the open layout is achieved through strategically placed shelves filled with shoppable ceramics, sectioning off a quieter meeting area featuring a travertine desk and armchairs upholstered in pale green toile. Sophie Ashby meticulously selected furniture and fabrics to complement the building's original, unchangeable fixtures, such as the grayscale marble vanity in the bathroom. The primary workspace for the team is located upstairs, chosen for its abundant natural light, which even lower ceilings cannot diminish. Leopard-print chairs are incorporated to add a bold design element. The sample library is distributed between mood boards upstairs and extensive open shelving in the basement, both brimming with design inspiration. Ashby's design philosophy emphasizes eclecticism for timelessness. This is evident in the juxtaposition of diverse elements, such as a recycled plastic side table placed beside a mustard yellow velvet sofa, and an antique burl-wood chest paired with a modern ceramic lamp. Art installations were carefully executed using picture wires to avoid construction delays. Ashby notes that the building's historical white-box nature enhances whatever is placed within it, allowing each design element to stand out. #InteriorDesign #OfficeDesign #StudioAshby #LondonArchitecture #HistoricBuilding #DesignPhilosophy #WorkplaceDesign #EclecticStyle #RenovationChallenges

The ancient art of decorative plasterwork, known as stucco, is experiencing a resurgence, moving beyond its historical association with the affluent to become a contemporary design element. Originating with the Egyptians and refined by the Romans, stucco reached its peak during the Italian Renaissance and later found prominence in 18th-century Ireland, where stuccodores like Michael Stapleton adorned Georgian homes with intricate plasterwork. Examples of this historical craftsmanship, resembling delicate wedding cake piping, can still be observed in places like the Powerscourt Shopping Centre in Dublin. Historically, plaster finishes often served to imitate more expensive materials, such as marble. Scagliola, a Florentine plaster technique developed around the Medici era, perfectly mimicked the appearance of marble columns often seen in Irish Georgian houses. However, contemporary stuccodores, such as Paul Marlow from Belfast, emphasize that modern decorative plasterwork aims to celebrate its own inherent qualities rather than feigning other materials. Marlow differentiates his craft from standard plastering, likening the distinction to that between a joiner and a cabinet-maker. He views stuccodores as artisans who work with color and texture, not just smooth surfaces. Marlow creates his products from scratch using traditional ingredients like lime, marble flour, and earth pigments, which he claims yields superior results at a comparable cost to pre-mixed products. Despite its artisan nature, decorative plasterwork remains relatively expensive. For instance, Marmarino, a type of stucco resembling 'little marble', costs approximately €96 per square metre. However, this cost can be offset by eliminating the need for painting, as the color is embedded within the material, offering indefinite durability with proper care. Marlow notes that his own home, featuring various stucco finishes, will likely never require redecoration. His personal residence showcases different applications of stucco. The children's bedroom features a matt green Marmarino with a suede-like texture, priced around €108 per square metre. In the master bedroom, he utilized a Moroccan Tadalakt, a soft-looking finish with minimal color variation, in black oxide with a hint of cobalt blue, costing €156 per square metre. The living room boasts a shiny black ceiling panel made from stucco lucido, a fine grade of marble powder and lime polished with a hot iron. Marlow advises clients against choosing currently fashionable colors for these permanent installations, suggesting that trendy shades can quickly become tiresome. For those seeking a less permanent and more economical wall finish, the article introduces whitewash. Also lime-based, whitewash offers a distinct alternative to chemically-based paints. Edward Byrne of the Traditional Lime Company in Co. Carlow explains that whitewash possesses a "double-refractive index," causing light to bounce off it in two directions, contributing to the luminous and sparkling appearance of traditional Irish cottages. While historically applied annually for hygiene and mite control due to lime's antiseptic properties, modern application does not require such frequent re-coating. Whitewash is significantly more affordable, costing around €1 per square metre, although more sophisticated lime-based paints can reach €5 per metre. A crucial consideration for using pure limewash is the porosity of the wall; it will only adhere properly to a porous surface, a characteristic easily tested by observing water absorption. Traditionally, whitewash was not exclusively white, with colors varying across Ireland based on local mineral pigments, such as yellow in Adare and Limerick, pink in east Cork, and red in Wicklow from Avoca mine pigments. While some contemporary lime-based interior products still derive colors from earth pigments, others may incorporate non-organic ingredients, making expert consultation advisable before purchase. The article concludes by listing websites for Paul Marlow and the Traditional Lime Company for further information. #Stucco #DecorativePlasterwork #InteriorDesign #HomeRenovation #ArtisanCraftsmanship #LimeWash #TraditionalBuildingMaterials #PaulMarlow #EdwardByrne