How a Montrose Company Turns Reservoir Sediment into Gorgeous Tile

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

Emily Packer, a British/American videographer, identified a critical issue in global plastic recycling, noting that only about 9% of plastics are actually recycled in America, and observed significant waste accumulation in Kigali, Rwanda. This motivated her to shift from environmental storytelling to creating a tangible local impact. Partnering with Jake Calhoun, she co-founded Coldharbour Tiles, an initiative that transforms Rwanda's plastic waste into durable, stylish home decor materials. The project's core involves melting down high-density polyethylene (HDPE) plastics, primarily from bottle caps, to create decorative tiles. Approximately 50 bottle caps are required for each tile, demonstrating the significant volume of plastic that can be diverted from landfills and waterways through this process. Coldharbour Tiles are designed for various home applications, including backsplashes, and the team provides guidance and design ideas to customers through a free tile information brochure. Packer's journey began after an internship with the United Nations Environmental Program, which highlighted the environmental consequences of inadequate waste management systems in developing countries. She recognized the pervasive nature of single-use plastics and the illusion of waste being simply 'thrown away,' realizing it often ends up in oceans, landfills, or other countries. Moving to Rwanda, she initially attempted to reduce plastic waste through a café that used biodegradable containers and bamboo straws, but soon recognized the unavoidable reliance on plastic in daily life, prompting her to seek a more impactful solution with long-term utility. To establish Coldharbour Tiles, Packer collaborated with Jake Calhoun, who brought experience from a social enterprise and an online food delivery company. They partnered with Kigali's IPRC engineering school, which provided a warehouse facility and technical support from professors and students. Initially, Packer personally collected HDPE plastic from waste management sites, demonstrating the project's grassroots origins. Through extensive experimentation with color, temperature, cooking times, and mold designs, they refined their tile production process despite limited engineering experience and funding. The team encountered challenges, particularly in scaling production. Their current facility, while effective for initial development, lacks the capacity for large-scale orders. The Kickstarter campaign aims to raise funds for essential equipment like a plastic-waste washing machine and commercial shredder, which would significantly boost production capabilities. The long-term vision for Coldharbour Tiles includes becoming a leader in the eco-tile industry, processing thousands of tons of plastic waste annually, and establishing manufacturing sites in Asia, Europe, the U.S., and Africa to address plastic waste globally and connect with diverse consumer markets. This expansion would also address the logistical challenges of operating in Rwanda, where access to advanced manufacturing technology is limited, necessitating creative, hands-on solutions for processes like mold design and fabrication. #SustainableDesign #RecycledMaterials #HomeDecor #PlasticWaste #Rwanda #SocialEnterprise #Crowdfunding #EcoTiles #WasteManagement

Ceramiche Refin has unveiled its latest collection of porcelain tiles, named Blended, which intricately merges the diverse textures and aesthetics of natural geological elements. This new range is designed to replicate and combine the tactile grain of quartzite, the distinctive veining of French limestone, and the warm, earthy tones found in the sandstone formations of the Wadi Rum desert. The Blended collection forms a harmonious hybrid material, creating a visual and tactile experience that evokes the natural world. The inspiration for the Blended tiles stems from Earth's multi-faceted geology, aiming to encapsulate the authentic markings and shadings found in various natural stones and sands. The brand emphasizes that the collection achieves a sustained yet balanced rhythm by blending these different textures, some more pronounced than others, to create a surface that mirrors a real slab of earth. This approach allows for a sophisticated design that celebrates the organic beauty of natural materials while leveraging the durability and versatility of porcelain. Blended tiles are offered in five distinct colors, reflecting a palette that spans from cool to warm tones. These include grey, natural, white, beige, and dark, with Natural specifically described as an orangey neutral shade. This variety in color ensures that the tiles can complement a wide array of interior and exterior design schemes, offering flexibility for different aesthetic preferences and functional requirements. Each tile within the collection features a unique pattern, preventing repetition and contributing to the overall natural and organic appearance of the installed surface. Functionality is a key aspect of the Blended collection, as the tiles are engineered for use on both floors and walls, and are suitable for both indoor and outdoor applications. This versatility enables designers and homeowners to create seamless transitions between different architectural features and spaces. The ability to extend the same tiling from an indoor living area to an outdoor patio, for instance, helps to blur the boundaries between internal and external environments, fostering a sense of continuity and openness. This characteristic makes the Blended range particularly well-suited for interiors that draw inspiration from nature, seeking to integrate and contaminate the outdoors within the living space. The introduction of the Blended collection follows Ceramiche Refin's previous release, Riflessi tiles, which incorporated Mediterranean colors, patterns, and traditional craft techniques. Both collections demonstrate Ceramiche Refin's commitment to exploring diverse natural and cultural inspirations to create innovative and aesthetically rich tiling solutions. The Blended collection, with its focus on geological hybridity and seamless indoor-outdoor application, represents a sophisticated offering for contemporary design projects aiming to connect with nature. #CeramicheRefin #PorcelainTiles #NaturalStone #HomeInteriors #OutdoorLiving #ArchitecturalDesign #MaterialInnovation #InteriorDesign #SurfaceMaterials

Microcement, a composite coating made from a blend of cement, water-based resins, and mineral pigments, is emerging as a practical and versatile material in home renovation. Originating from Europe, particularly popular in Greece and Spain, microcement has recently gained traction in the U.S. in the last five years. Unlike traditional concrete, microcement is significantly lighter, with each layer being approximately three-sixteenths of an inch thick, allowing it to be applied over various substrates like plywood. Its non-porous nature distinguishes it from plaster, making it resistant to staining, an advantage for surfaces like kitchen countertops and walls. Applications for microcement are extensive, ranging from floors, baseboards, fireplaces, and kitchen surfaces to built-in furniture and shower walls. Its waterproof quality, when sealed, makes it an ideal choice for bathrooms, where it can provide a rustic aesthetic, reminiscent of Mediterranean designs, without the need for grout. The material's ability to be customized in color further enhances its appeal, allowing for personalized design expressions. Suppliers like Topciment from Spain and Promix in New Jersey offer various types of microcement, catering to different functional and decorative needs, including options robust enough for swimming pool floors. While microcement offers numerous benefits, its application is a meticulous process that typically requires professional expertise. Each layer demands 24 hours to cure and dry before the subsequent one can be applied, and skilled trowel work is essential for a smooth finish. This complexity suggests that DIY application may not be suitable for most homeowners. For instances where microcement is integrated with custom elements, such as cabinet doors, it is layered directly onto existing frames, with cabinet fronts then made to fit the created niches. Despite its resilience, microcement, like any surface material, can show minor wear, such as nicks and stains, in high-traffic areas over time. However, its overall durability and hygienic properties—due to the absence of grout lines—are significant advantages. Homeowners who have used microcement report that it maintains a warmer feel than polished concrete or lime plaster, contributing to an inviting and spa-like atmosphere. The material's practicality, aesthetic versatility, and low maintenance requirements position it as a noteworthy option for modern home renovations, offering a blend of durability and sophisticated design. #Microcement #HomeRenovation #InteriorDesign #BuildingMaterials #KitchenDesign #BathroomDesign #MaterialInnovation #DesignTrends #HomeImprovement

Dutch designer Inge Sluijs has developed a novel method to transform landfill waste into a durable, rock-like material she calls 'plasma rock,' offering a potential solution to waste management and a source of sustainable materials. The process involves subjecting waste to extreme temperatures using plasma, which is ionized gas capable of generating intense heat. Waste collected from landfills, particularly coastal ones, is first heated in a gasifier to 800 degrees Celsius, converting it into gas. This gas is then superheated to 1,500 degrees Celsius and blasted with plasma, reaching temperatures exceeding 5,500 degrees Celsius—hotter than the sun's corona. This intense heat breaks down the gasified waste into its atomic elements. The end product of this gasification process is a slag that, upon cooling, solidifies into a vitrified, rock-like material with sharp edges. The chemical composition of plasma rock varies depending on the type of waste processed, but it predominantly consists of silica, lime, and alumina, along with traces of titanium, magnesium, sodium oxide, iron oxide, phosphate, and potassium. Crucially, tests confirm that the process consistently yields syngas (a potential fuel), reusable heat, and the plasma rock, irrespective of the initial waste material, whether it be food scraps, plastic, or even baby diapers. Approximately 100 kg of landfill waste can be converted into 20 kg of plasma rock. Sluijs emphasizes that despite originating from toxic landfill waste, the resulting plasma rock is virtually un-bleachable, meaning any hazardous materials present are rendered inert and will not leach out. This quality makes the material mechanically strong, very dense, and environmentally stable. To showcase the versatility and practicality of this innovative material, Sluijs and her collaborators have created various functional and decorative items. For example, waste from the East Tilbury landfill in Essex, England, has been transformed into 'Tilbury Tiles,' which are sold as souvenirs. Furthermore, Sluijs has crafted glass vases adorned with plasma rock specks, illustrating how discarded landfill materials can be repurposed into aesthetic pieces for home decoration, thereby giving waste a 'second life' and contributing to a more circular economy. #PlasmaRock #SustainableMaterials #WasteManagement #EcoDesign #CircularEconomy #LandfillWaste #EnvironmentalInnovation #MaterialScience

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

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

The Italian brand Lapilli, originating from Sicily's Mount Etna, has pioneered a new approach to lava stone design, blending its ancient appeal with modern aesthetics. The brand is an offshoot of Magma Ceramiche, a company with over 40 years of experience in ceramics. Lapilli aims to elevate and enrich the lava stone from Mount Etna by transforming it into high-quality, forward-thinking products through advanced glazing techniques. These techniques enhance the stone's natural patterns and hues, moving it beyond its raw form to become a sophisticated design element while preserving its unique characteristics. Onofrio Acone, the commercial director of Lapilli, elaborates on the brand's journey and process. Magma Ceramiche began experimenting with lava stone in the late 1980s, driven by a passion for ceramics and a desire to explore new materials. Over the 1990s, they refined their skills in glazing lava stone, culminating in Lapilli's establishment as a testament to their innovation and mastery. Lava stone stands out due to its striking beauty and volcanic origin, offering high resistance to impact, foot traffic, and wear. Enameling with natural pigments not only enhances its aesthetic value but also makes it impermeable, broadening its application for various domestic and commercial uses such as flooring, wall cladding, bathroom and kitchen countertops, as well as surfaces for spas, wellness centers, and pools. The material offers a wide range of colors and decorative possibilities. The process of working with lava stone is intricate. It starts with selecting the finest blocks from the Nicolosi quarry in Sicily, followed by carefully curating flawless slabs free from impurities. The critical step is the enameling process, which is entirely manual and requires expertise, particularly in precisely dosing colors and glazes that only reveal their true hue after firing. This intricate process allows for extensive customization, with Lapilli offering bespoke services to architects and designers for creating prototypes of specific decorations and colors. Consequently, each lava stone project is inherently unique, reflecting the craftsmanship involved. Traditionally, glazed lava stone has been used for 3 cm thick slabs in kitchen and bathroom countertops. However, Lapilli has innovated with a new range of thin planks called Lava Plank, which are just 1 cm thick and can be up to 220 cm long. These planks are suitable for both indoor and outdoor flooring and cladding. Lapilli also provides non-slip and frost-resistant enamels for outdoor applications, emphasizing the preservation of the stone's natural textures and patterns through the enamel rather than fully obscuring them. This innovative application of glazed lava stone caters to the detailed demands of contemporary design, pushing the boundaries of its use in both design and architecture. #LavaStone #MagmaCeramiche #Lapilli #InnovativeMaterials #ArchitecturalDesign #InteriorDesign #SicilianCraftsmanship #SustainableMaterials #CeramicGlazing

Giuseppe Telara, a business development manager at AM3 Stone, shares insights into the unique qualities of Alabama marble. Telara, originally from Carrara, Italy, comes from a family with seven generations of experience in the marble industry. Despite initially pursuing architecture to diverge from the family business, he eventually joined the marble sector, focusing on the US market since 1993 and moving to Alabama a year prior to this article to work with AM3 Stone's quarry in Sylacauga. Telara notes that 70-80% of Carrara's marble is currently exported to the US. He details the ongoing extraction process at AM3 Stone’s quarry, highlighting that the material’s quality significantly improves with depth. The quarry has recently breached its third level, revealing much finer marble. This improvement is attributed to the geological formation of marble from ancient seabeds; the closer to the center of the deposit, the stronger and better the material becomes. The current excavation depth is only 10 meters, while the geological deposit extends 400 meters deep, indicating substantial potential for higher quality marble as operations go deeper. Comparing Alabama marble to its Italian counterpart, Telara asserts that Alabama white marble is stronger, denser, and translucent, allowing light to pass through. While both types are similar in quality and color, he expresses a preference for Alabama marble, not only for its inherent qualities but also due to environmental considerations. Utilizing domestic marble avoids the considerable fuel consumption and emissions associated with shipping Italian marble across the Atlantic, making it a more environmentally friendly option. Beyond environmental benefits, Alabama marble offers a cost advantage, providing Italian-quality material at domestic prices, which is a significant factor for consumers considering marble countertops. The AM3 Stone quarry offers several varieties of Alabama marble, including the classic Alabama white, which has been quarried for nearly two centuries. Additionally, they have discovered Alabama Rose, characterized by pink and purplish hues, and Silver Cloud, a silver/grey material. Telara observes that the Sylacauga material shares many similarities with Italian marble, particularly in its range of white shades, akin to the diverse offerings from Carrara’s approximately 120 operating quarries. Regarding its appeal to sculptors, Telara initially believed Italian marble was preferred due to its softness and ease of manipulation. However, discussions with sculptors at the Marble Festival, where AM3 Stone donated marble, revealed a different perspective. Several sculptors, including an Italian sculptor from near Carrara, expressed a preference for Alabama white marble because of its ability to achieve a more radiant polish. This characteristic makes Alabama marble highly desirable for artistic applications, offering a superior finish. Telara encourages interested parties to explore AM3 Stone’s website and social media channels to learn more about Alabama marble. #AlabamaMarble #ItalianMarble #Quarrying #NaturalStone #MarbleIndustry #HomeRenovation #SustainableMaterials #Sculpting

Fireclay Tile, a West Coast tile specialist, has announced the launch of a new product category named Fireclay Bath, set to be available in November. This new line features customizable American-made bath fittings, developed in collaboration with a domestic foundry. The collection is designed to offer a wide range of aesthetic and functional choices for bathroom interiors. The Fireclay Bath line is comprehensive, encompassing various components from faucets and showers to ceramic knobs. The fittings include sculpted metal faucets and shower fixtures, which are produced with an emphasis on craftsmanship and design. A unique aspect of the collection is its ceramic knobs, which are molded from a wheel-thrown form, highlighting the brand's expertise in ceramic artistry and traditional manufacturing techniques. This approach ensures that each knob possesses a distinct, handcrafted quality. Customers will have extensive customization options, as the Fireclay Bath line is structured into four distinct series. Within these series, there are nine different spout designs available, allowing for varied aesthetic preferences and functional requirements. Additionally, the line offers 10 handle styles, providing further personalization for faucets and other fixtures. The metal components are available in 16 different finishes, ranging from classic to contemporary, enabling seamless integration with diverse bathroom design schemes. True to Fireclay Tile's core competency in tile glazing, the colors featured in the bath fittings collection are rich and deeply layered. This expertise is particularly evident in the ceramic knobs, which are presented in a vibrant palette. Examples of these colors include Thistle, Kalamata, Chaparral, Sweet Pea, Garnet, and Tiger’s Eye. These colors are chosen to offer both subtlety and striking contrast, allowing designers and homeowners to create visually appealing and harmonious bathroom environments. The emphasis on color and finish reflects a holistic approach to bathroom design, where every element contributes to the overall aesthetic and tactile experience. The collaboration with a domestic foundry for the production of metal fittings underscores Fireclay Tile's commitment to local manufacturing and quality control. This partnership ensures that the metal components meet high standards of durability and finish, complementing the handcrafted ceramic elements. The overall offering aims to provide a sophisticated and highly customizable solution for modern bathroom design, blending traditional craftsmanship with contemporary design flexibility. #FireclayTile #BathFittings #CustomizableDesign #CeramicKnobs #MetalFinishes #AmericanMade #InteriorDesign #BathroomRemodel

This article provides comprehensive guidance on the correct installation of manufactured stone veneer (MSV), drawing insights from Jeff Tew, Director of Technical and Training for Westlake Royal Stone Solutions. It emphasizes the importance of proper technique to ensure durability and aesthetic appeal, covering various stages from preparation to finishing. The installation process begins with a thorough understanding of relevant building codes and standards, specifically ASTM-C1670 and the NCMA-MSV Installation Guide. These resources provide crucial instructions, best practices, and code requirements that installers must adhere to. Before applying MSV, meticulous wall preparation is essential, including a comprehensive wall review. A recommended practice is to construct a mock panel to pre-evaluate stone spacing, color distribution, mortar color, and joint type. Water management is a top priority, necessitating proper flashing at all terminations, transitions, and penetrations to prevent moisture intrusion. Installers should inspect pre-existing flashing work to confirm its integrity. The scratch coat serves as the foundational layer, transferring the cladding weight to the structural substrate. It should be applied to a ½-inch thickness, fully embedding the lath to minimize corrosion and provide a robust bonding surface for the stone. After applying the scratch coat, horizontal lines should be created with a scarifier or notched trowel as the mortar begins to set, followed by a complete curing period to enhance both mechanical and chemical bonds. Achieving a strong bond is critical, and common failures often stem from improper mortar selection or mixing. It is crucial to choose high-quality mortar and strictly follow the manufacturer's instructions regarding water amounts, mix time, slake time, and consistency. Hydrating both the scratch coat and stones prior to installation is essential, typically using a garden sprayer to ensure they are fully saturated but free of standing surface water, though this practice may vary with polymer-modified mortars. Any debris, such as splashed dirt, on the back of the stone or scratch coat can compromise the bond, necessitating frequent cleaning. Timing the installation after interior drywall and roofing is advisable to avoid structural movement from other construction activities that could lead to cracking. The article stresses the importance of the “setting bed technique,” ensuring 100% mortar coverage on the back of each MSV unit, contrasting it with inadequate methods like “perimeter,” “donut,” or “spot” techniques. A thin layer of mortar should first fill stone voids, followed by a heavier back-buttering setting bed of ½ to ¾ inches. The unit is then pressed firmly onto the prepared backing, forcing mortar to squeeze out around the perimeter. Consistent joint spacing should be maintained, and excess squeeze-out must be compacted with a jointing tool before it hardens, taking care not to disturb the stone's bond. To ensure an authentic appearance, initial product selection is key, involving the review of multiple samples. When cutting stones, thinner pieces should be chosen, and mortar applied to cut edges to conceal aggregate. Nippers or a brick hammer can create a more natural cut, which should ideally be positioned away from high-visibility areas. Blending material from multiple boxes, approximately 40 square feet at a time, is recommended to ensure an even distribution of colors, textures, and sizes. For corner installations, alternating long and short legs and creating additional corner sizes by cutting pre-made pieces helps avoid a “zipper” effect. Various grouting options are available, and the choice significantly impacts the project’s final look. Grouting should only begin after the stone units are sufficiently cured to prevent disturbing the bond. Tips include grouting manageable sections, using appropriate jointing tools, and tooling joints when the mortar is thumbprint hard and pliable. A plastic grout bag is recommended for easier application into tight gaps. Modified mortars are generally not suitable for grouting, and manufacturers typically offer separate grouting products. Post-installation, a thorough site cleanup is necessary. #ManufacturedStoneVeneer #MSVInstallation #BuildingCodes #ScratchCoat #MortarApplication #BondingTechniques #AestheticAppeal #GroutingTips #ConstructionBestPractices

Clayworks, a UK-based brand, has developed a diverse range of natural clay plasters designed to create smooth, rustic, or rammed earth aesthetics on interior surfaces. These plasters, showcased as part of Dezeen Showroom, provide sustainable and visually engaging options for both residential and commercial interior design. Crafted by mixing unfired clays with minerals and pigments, these Cornwall-based company's plasters offer breathable finishes for walls and ceilings. Beyond their aesthetic appeal, the high-performance clay plasters serve as an eco-friendly alternative to traditional gypsum plasters or paints, contributing to better indoor air quality by regulating humidity and absorbing toxins and odors. The collection includes various finish options, starting with the Classic range's Smooth finish. This particular finish presents a seamless and cloudy appearance, available in a palette of neutral and earthy tones. An example of its application can be seen in a London house extension designed by Magri Williams Architects, which was recognized and shortlisted for the 2019 Don't Move, Improve! award. For those seeking a more tactile and robust texture, Clayworks offers the Rustic finish. This option introduces depth to surfaces, with its appearance varying based on the application technique. Specialized tools allow the plaster to mimic the look and feel of different types of stone or even concrete. Notable installations of the Rustic finish include Snøhetta's Aesop store in London's Chelsea neighborhood, another Aesop outpost in White City, and a cafe located in the UAE. Expanding beyond the Classic options, Clayworks also provides a Custom finishes range, featuring the Rammed Earth finish. This specific finish is designed to replicate the ancient building technique of rammed earth construction, characterized by textured layers that form distinct bands of varying hues. The Rammed Earth finish has been incorporated into London's Gaucho restaurant, where it adds rich tonal variations to the bar areas. Clayworks is deeply committed to environmental sustainability, ensuring its products have a low embodied carbon footprint. Furthermore, the plasters are recyclable and compostable, aligning with eco-conscious design principles. The company's founders, Adam Weismann and Katy Bryce, have extensively researched clay as a building material globally, and have authored two books on the subject, underscoring their expertise and dedication to natural building solutions. Additional details about Clayworks and their product offerings are available on their official website. #Clayworks #NaturalPlasters #InteriorFinishes #SustainableDesign #EcoFriendlyMaterials #RammedEarth #InteriorDecoration #BuildingMaterials #ArchitecturalFinishes

Martha Magane, a retired librarian from Eastham Public Library, has embarked on a new creative career crafting unique chenille rugs from fabric remnants. Her journey into rug making began after her retirement in 2011, sparked by a sewing book and a rekindled childhood interest in sewing and dissecting mechanical objects. As a child, Magane repaired her grandmother’s 1930s-era sewing machine, a hands-on experience that fostered her fascination with construction and a desire to create her own garments. The specific technique that captured Magane's attention involves layering stacks of fabric, stitching them together with diagonal channels, and then cutting these channels open to reveal the inner layers. This process creates a textured, plush surface akin to chenille. Initially, Magane sought denim remnants for this technique, but when she couldn't find them at the Truro Swap Shack, she adapted by using heavy upholstery fabric samples. These samples offered a wider array of colors, enhancing the aesthetic diversity of her rugs. After sewing and cutting the layered fabrics, Magane meticulously brushes the cut edges by hand to fray and soften the material, forming the chenille texture. The resulting fuzzy, colorful panels are then backed with denim and assembled into approximately three-by-five-foot rugs. A critical step in her process involves washing and scrubbing the completed rugs to further loosen the fibers and remove lint, followed by trimming the surface to achieve an even pile. Each rug, branded as Slash Products, is inherently one-of-a-kind due to the use of salvaged and donated materials. Magane's initial foray into selling her creations at craft fairs revealed her preference for the creative process over sales. Consequently, her rugs are now retailed at Repurfect in Provincetown and Adorn in East Orleans. Over more than a decade, her designs have evolved from simple pieced squares to more complex patterns featuring wider, longer strips and Klimt-esque motifs. She draws inspiration from nature, observing how colors and shapes naturally interact in the environment, and incorporates these observations into her designs, often utilizing blues with bright contrasting accents. Her material sourcing primarily involves thrift shops, where she discovers thick fabrics like winter scarves and woven blankets, which are ideal for achieving the desired chenille effect. Often, a single piece of found fabric dictates the entire design of a rug. Recently, Magane has also begun integrating yarn to introduce varied textures. The demanding nature of her craft has led to the wear and tear of two sewing machines; her current toolkit includes a heavy-duty serger, electric scissors, and a robust “walking foot” machine designed to handle thick fabric stacks and heavier threads. This work, requiring solitude and patience, aligns well with Magane’s personality, allowing her to engage in another creative pursuit: memorizing songs for her performances with the Outer Cape Chorale. #MarthaMagane #RecycledRugs #TextileArt #Craftsmanship #ChenilleTechnique #SustainableDesign #HomeDecor #HandmadeRugs

Sand, despite its common association with beaches and playgrounds, is a critical resource for modern technology. It is indispensable for manufacturing silicon microchips, fiberoptic cables, insulation, and solar cells, and forms the primary ingredient for glass used in consumer electronics such as refrigerators, microwaves, and computers. Despite the extensive efforts involved in extracting, transporting, refining, and processing sand into complex electronic components, there is a significant lack of effective recycling initiatives for these components once electronic goods reach the end of their lifecycle, often leading to them being discarded in landfills. While glass possesses excellent properties for recycling, current EU directives concerning the efficient processing of glass from electronic waste (E-waste) are notably absent. Addressing this critical environmental and resource management issue, the Norwegian architectural design firm Snøhetta has partnered with Brussels-based Studio Plastique to develop a research project titled ‘Common Sands – Forite.’ This collaborative endeavor aims to explore the feasibility of recycling and repurposing glass components found in electronic waste. Building upon existing research conducted by Studio Plastique, ‘Common Sands – Forite’ has evolved into a joint research initiative with Snøhetta, focusing on investigating potential applications for recycled E-waste glass. Through a series of extensive trials, prototype developments, and material variations, the project team successfully established a standardized process for recycling E-waste glass components. Concurrently, they developed an application that not only integrates but also highlights the variable material qualities inherent in this recycled glass: the creation of glass tiles. The project further benefited from the involvement of Fornace Brioni, an Italian ceramic tile manufacturer. Fornace Brioni contributed its considerable experience, industrial expertise, production capabilities, and potential for large-scale implementation to the initiative. The collaboration resulted in the creation of glass tiles in two distinct sizes, available in both opaque and transparent finishes. Each tile exhibits a unique pattern and aesthetic, collectively showcasing a profound and intricate terrazzo-like material quality. These characteristics render the tiles suitable for a diverse range of architectural uses, including surface coverings and semi-transparent partition elements. ‘Common Sands – Forite’ strategically leverages the unique compositional, chromatic, and structural properties of the waste material to produce a series of innovative architectural glass tiles. The project initially concentrates on waste glass sourced from ovens and microwaves as a starting point, primarily to demonstrate the aesthetic depth, functional versatility, and overarching potential of the recycled material. However, the scope of this project is not confined solely to this specific material stream, indicating broader possibilities for E-waste glass recycling in the future. This initiative represents a significant step towards developing sustainable solutions for electronic waste, transforming discarded materials into valuable architectural components, and establishing a circular economy within the construction and design industries. #SustainableDesign #EwasteRecycling #GlassTiles #ArchitecturalMaterials #CircularEconomy #MaterialInnovation #Snøhetta #StudioPlastique #FornaceBrioni

The sustainable Clay Plasters Rustic Range by UK brand Clayworks offers a textured surface finish for internal walls and ceilings, designed to emulate the look of concrete, stone, and earth. The product line is a celebration of imperfection, introducing an organic and raw aesthetic to interior spaces. Made entirely from unfired clays and blended with natural pigments and minerals, the Rustic Range is an eco-friendly alternative to traditional plasters. This plaster is applied at a thickness of five to 10 millimeters, allowing for a highly textured finish and enabling skilled plasterers to create intricate three-dimensional patterns. Clayworks emphasizes that this material can replicate the popular finishes of materials like concrete without the associated environmental impact. The brand highlights the product's versatility, noting its wide array of textural variations, from delicate to very coarse, and its ability to be carved for unique storytelling effects. A key aspect of the Clay Plasters Rustic Range is its environmental sustainability. The use of natural materials ensures that the plaster is compostable, free from toxic ingredients, volatile organic compounds (VOCs), and formaldehyde. Beyond its aesthetic and ecological benefits, the plaster also offers practical advantages for interior environments. It is easy to repair, possesses sound-absorbing qualities, and contributes to regulating the humidity and temperature within a space, enhancing overall comfort and indoor air quality. Clayworks is featured in Dezeen Showroom, an initiative that provides a platform for brands to showcase new products and highlight their designs and projects to a global audience interested in architecture and design. This particular product exemplifies a commitment to sustainable design, offering both aesthetic flexibility and environmental responsibility for contemporary interiors. The range aims to bring a touch of natural, rugged beauty into modern living and commercial spaces. #ClayPlasters #Clayworks #SustainableDesign #InteriorSurfacing #TexturedWalls #EcoFriendlyMaterials #NaturalPigments #ArchitecturalFinishes #DezeenShowroom

Matter at Hand, a material research studio co-founded by Assemble's Lewis Jones, has developed a novel clay-based construction technique called Poured Earth. This method aims to simplify and increase the accessibility of building with earthen materials, drawing inspiration from concrete casting. Traditional earthen construction methods, such as rammed earth and cob, are highly sustainable but often demand significant labor. Poured Earth seeks to address this by leveraging a process similar to concrete casting, enabling scalability and the reuse of existing equipment. The development of Poured Earth was part of Matter at Hand's residency in the Art in Manufacturing programme at the National Festival of Making. Jones highlights the utility of flowable, castable solid materials, as demonstrated by concrete, while acknowledging concrete's substantial carbon footprint. Poured Earth offers a practical alternative, allowing for similar ease of use with earthen materials, thereby promoting a more sustainable approach to construction. The method also introduces new design possibilities and surface finishes not typically associated with earth construction. Poured Earth samples are created by combining clay with varying amounts of sand, aggregate, and natural fibers. Crucially, these mixtures do not require binders like cement or gypsum, making them easily reformable or returnable to the earth at the end of their lifecycle. The process involves mixing these materials in a cement mixer, pouring them into formwork, and then vibrating the mixture to eliminate trapped air before demolding. Matter at Hand collaborated with ceramic manufacturer Darwen Terracotta, integrating slip-casting techniques used for architectural ceramics into the Poured Earth development. A key innovation distinguishing Poured Earth from other earthen construction methods is the incorporation of deflocculants, chemical agents commonly used in ceramic slip-casting. Deflocculants such as sodium silicate, soda ash, or bark tannins enhance the flowability of the clay mix without requiring additional water. This results in a denser material with minimal shrinkage, unlike traditional methods where adding more water to achieve fluidity can reduce strength and increase drying time. Jones notes that while deflocculants are foundational to ceramic slip casting, their application in earth construction is a relatively new and promising area. Poured Earth samples were showcased at the National Festival of Making in Blackburn Cathedral. The exhibition featured structural Poured Earth walls made from clay, crushed ceramics, and recycled construction aggregates, designed for both in-situ construction and precast panels. Also presented was a lightweight insulative panel, framed in timber, composed of clay, wood chip, hemp shiv, and foamed recycled glass. Prototypes of hollow clay cast blocks filled with loose, natural insulation were also displayed. A composite wall, drawing from the CobBauge system, demonstrated a dual-layer structure with an internal load-bearing layer and an insulative layer. Matter at Hand intends to scale the Poured Earth prototype into a full-scale building, aiming to demonstrate its viability as a mainstream, contemporary building method. Jones emphasizes the need to re-establish unfired clays as mainstream construction materials in the face of the climate emergency, advocating for both design innovation and practical advancements to facilitate their broader adoption. #PouredEarth #SustainableConstruction #EarthenMaterials #MaterialInnovation #ClayConstruction #ConcreteAlternative #Deflocculants #GreenBuilding #ConstructionTechnology

Ranieri, a Campania-based company with a century-old family history in volcanic rock treatment, showcased its innovative approach to lava stone at EDIT Napoli 2023 with the installation "A Matter Of Perspectives." This exhibition, part of the CULT program, highlighted the material's potential in art, architecture, and interior design through the vision of new creative directors Francesco Meda and David Lopez Quincoces. The installation was housed in Santa Maria La Nova, a deconsecrated Roman Catholic Renaissance-style church and monastery in Naples. The choice of this historic venue underscored Ranieri's commitment to its regional heritage. Giovanni Ranieri, the head of the company, emphasized the aim to ennoble the natural essence of lava stone with a bold, experimental interpretation, treating the material in unprecedented ways. "A Matter Of Perspectives" in the cloister of Santa Maria La Nova was an immersive experience. It featured two mounds of crushed lava rock dust and sculptural compositions of volcanic stone slabs with imperfect finishes. This design allowed visitors to explore the rich world of lava stone both up close and from a distance, observing from the portico that surrounded the installation. The portico also displayed a 10-meter material library, showcasing Ranieri's various finishes, including the new Odissea collection of 2D and 3D elements designed by Meda and Quincoces. The overall concept emphasized the beauty of imperfection and the interplay between raw material, natural elements, and human craftsmanship. The second part of the exhibition took place in the refectory, adorned with a 16th-century fresco. Here, Meda and Lopez Quincoces created a theatrical setting using light, focusing on a singular 17-meter table crafted entirely from volcanic stone. This monumental piece, with a crystalline green finish—Ranieri’s distinctive shade—demonstrated the material's versatility. The table featured a solid base and overhanging ends, creating an atmospheric effect. Surrounding the table were lava stone stools that, when grouped, resembled a single black lacquered block, but when separated, revealed dynamic sides with fluid patterns, achieved through Ranieri’s Zest Lava finish, which incorporates burgundy and golden-brown hues. The creative directors explained that the installation was designed to embody conviviality and to narrate a project with both aesthetic and functional characteristics, inviting public interaction with the natural material. They aimed for an elementary, almost primitive, and universal language, focusing on the material itself rather than solely on design. The intention was to create a concept that could be replicated in other contexts, giving it a multifaceted and extended life, all while respecting the inherent qualities of the lava stone. Ranieri's approach celebrates the natural composition of lava stone, revealing its unexpressed potential and breaking away from traditional aesthetics. #VolcanicRock #ContemporaryDesign #ArtisanalCraftsmanship #EDITNapoli #LavaStone #InteriorDesign #ArchitecturalMaterials #InnovativeMaterials #DesignInstallation

The article focuses on Neolith's introduction of four new sintered stone products: WhiteSands, Rapolano, Artisan, and Ignea. These offerings expand Neolith's portfolio of countertops and surfacing materials, aiming to provide designers and homeowners with diverse aesthetic and functional choices. Sintered stone, a manufactured material, is produced by subjecting natural minerals to extremely high pressures and temperatures, mimicking the natural formation process of metamorphic rocks over thousands of years in a much shorter timeframe. This process results in a highly durable, non-porous material that is resistant to scratches, heat, UV rays, and stains. The WhiteSands product, specifically highlighted, draws inspiration from the serene and expansive landscapes of New Mexico's White Sands National Park. It is characterized by a soft, pale surface. A key innovation in WhiteSands is the integration of an all-new digital texture technology. This technology allows for the creation of a gentle relief on the surface, which is designed to enhance its brightness and visual appeal. The interplay of light and shadow on this subtle texture contributes to the product's overall aesthetic, making it suitable for various interior design applications where a light and airy feel is desired. Beyond WhiteSands, the article briefly mentions Rapolano, Artisan, and Ignea, suggesting that these products also feature distinctive textures, colors, and designs, though specific details about each are not provided. The introduction of these new lines by Neolith reinforces the company's commitment to innovation in the surfacing material industry, addressing evolving design trends and consumer preferences. Sintered stone, as a category, offers several advantages that make it a compelling choice for countertops and other surfacing needs in residential and commercial settings. Its inherent durability means it can withstand daily wear and tear without significant maintenance. The non-porous nature prevents the absorption of liquids and stains, making it hygienic and easy to clean. Furthermore, its resistance to high temperatures allows for direct placement of hot pots and pans without damage, while UV resistance ensures color stability when exposed to sunlight, making it suitable for both indoor and outdoor applications. The product release is positioned within the broader context of kitchen and bath design trends, where materials that offer both beauty and performance are highly valued. The emphasis on nature-inspired aesthetics, as seen with WhiteSands, aligns with a growing desire for natural and calming elements within modern living spaces. The new digital texture technology represents a technological advancement in material fabrication, allowing for greater realism and tactile qualities in engineered surfaces. This blend of natural inspiration and technological innovation is a recurring theme in contemporary material science for interior design. In summary, Neolith's new sintered stone collection, particularly WhiteSands with its advanced digital texture, offers durable, low-maintenance, and aesthetically pleasing options for countertops and other surfaces. The collection reflects current design preferences for natural looks combined with high-performance characteristics, underscoring the ongoing evolution of materials in the home design industry. #SinteredStone #Countertops #Neolith #WhiteSands #KitchenDesign #BathDesign #SurfaceMaterials #DigitalTexture #HomeRenovation