Fornace Brioni’s Grounded Exhibition Is a Tour of Terracotta

Expanded Eye, an artistic duo composed of Lisbon-based artists Jade Tomlinson and Kevin James, is exploring the divine feminine and the 'peaceful power of the Earthmother' through their recent sculptural works. Their art blurs the lines between abstraction and figuration, incorporating characteristic geometric and figurative elements. The duo is well-known for their unique approach to tattoos and assemblages, which often utilize wood and repurposed materials to create bold and textured compositions. They have temporarily paused their tattoo practice to dedicate their focus to developing these sculptural reliefs. Ceramic work has become a central part of their artistic process, drawing inspiration from Portugal's rich tradition of azulejo tiles, which symbolizes cross-cultural exchange. The artists aim to use this ancient, earthy material to depict serene guardians in earth-toned colors, seeking to evoke a sense of stillness and calm in contemporary society. Their compositions represent a convergence of past and present, exploring themes of timelessness and continuity through traditional techniques of working with clay, carving, and building. The graphic elements and fragmented features within their work also draw parallels to early 20th-century art historical Modernism, particularly the Cubist movement. Tomlinson and James highlight that the fusion of traditional materials with a modern artistic approach is a significant source of inspiration for them, serving as a connection between historical practices and the present day. Expanded Eye is currently undertaking their largest tile commission to date, and they intend to further integrate ceramics with other aspects of their diverse artistic practice. Their work continues to evolve, pushing the boundaries of material and form while maintaining a consistent thematic thread of earthy connection and timeless spiritual presence. #ExpandedEye #CeramicArt #WoodSculpture #Assemblage #FigurativeArt #AbstractArt #PortugueseArt #EarthMaterials #ContemporaryArt

The article presents an interview with Tom Pergola, an artist known for his "Assemblage Plastique" art form. Pergola discusses his journey into the art world, which began in 1978 with Martin Lawrence Limited Editions as an artwork shipper. He quickly advanced to curator and general manager, gaining extensive knowledge of the business aspects of fine art. After eight years, he transitioned to managing artists and producing videos of prominent artists, contributing to millions in art sales globally. Pergola later co-founded DATZ ART with a friend, focusing on art created with resins. Their work gained national recognition through fine art trade shows and exhibitions in prestigious galleries, including Caesars Palace Las Vegas and Rodeo Drive in Beverly Hills, California. His unique 3-dimensional wall and table sculptures, which immortalize everyday objects and popular culture icons, are highlighted as a continuation of the Pop Art tradition established by artists like Andy Warhol and Claes Oldenberg. He was invited by the Los Angeles County Museum of Art to participate in their "Appetite for Art" exhibition, where his works were also sold. Pergola's "Pop Art Sculptures" have been purchased by thousands, and his work has been displayed in galleries across the United States. Notable celebrity collectors include Jay Leno and Carol Burnett. His art has been featured in various cities, including New York, Los Angeles, and Las Vegas. Pergola has received commissions for hundreds of limited-edition pop art sculptures from major brands such as Kellogg's (Fruit Loops and Frosted Flakes) and Corona Beer. He also undertakes custom commission work for private clients. Beyond commercial endeavors, Pergola has contributed his sculptures to charity events for organizations like Make-A-Wish and Stop Cancer, helping to raise funds for their causes. His artwork has also been showcased at major golf tournaments, with full-page announcements in high-end golf magazines featuring his pieces like "Hole In One" and "It Takes A Lot Of Balls." Pergola's primary mission in his creative journey is to create large-scale installations of his images, aiming for pieces 20 to 50 feet tall to be displayed in front of corporate headquarters and in museums. He expresses that the most rewarding aspect of his creative work is bringing smiles to people's faces through his art. #TomPergola #AssemblagePlastique #PopArt #FineArt #ArtistInterview #ArtBusiness #Sculpture #CreativeJourney #ArtExhibitions

Pottery Barn is a popular choice for home décor, even among interior designers, due to its timeless yet trendy designs and collaborations with artists and artisans. The brand offers a diverse selection of wall art, including prints, photographs, text art, woven pieces, and items made from unique materials. This selection caters to various aesthetics, from rustic to refined, and includes abstract arrangements, landscapes, cityscapes, seascapes, and depictions of plant and animal life. The article highlights twenty distinct pieces of wall art available at Pottery Barn. The first is "Color Theory" by Tracey Capone, a photograph of Burano, Italy, with a whimsical, foggy effect suitable for any living space. Next is "Morning Bird" by Lannie Hall, a black and white photo of a bird on a beach, available with natural oak, walnut, or slate black frames, with a commitment to plant a tree for each purchase. "Aerial Beach" by Michael Schauer captures a vibrant beach scene from above, featuring colorful umbrellas and glistening water, bringing a sun-filled atmosphere into the home. "Coral" by the Artists Studio offers a collection of ocean-inspired sketches, available individually or as a set of eight, allowing for flexible arrangement. A handcrafted wooden block wall art piece provides a 3D effect, made from chamcha wood, fitting natural or industrial aesthetics. "Wells and Arcs" by Alyson Khan is an abstract art piece that can evoke either a retro or contemporary feel, ideal for placement above a sofa, bed, desk, or dining table. Patricia Vargas' "Evergreen," along with her other works like "Sur" and "Over and Under," are abstract paintings with subtle shades, creating a cohesive look when displayed throughout a home. "And All The Stars In The Sky" by Gold Rush Art Co. is a hand-crafted black and white piece on matte canvas, offering a cosmic, dream-like décor for bedrooms. "Colorado" by Dan Hobday, while seemingly simple, is a captivating and calming landscape piece, reflecting the diverse terrains of Colorado. Live edge teak wall art showcases the unique beauty of natural wood, with shapely teak pieces framed in black metal, offering versatile installation options. A carved wood octopus piece provides an aged, nautical feel, perfect for coastal homes, and can be paired with a matching sea turtle. Pottery Barn's in-house artists created the "New York City" framed print, inspired by retro images, which can be complemented by prints of other global cities like San Francisco, London, and Paris. "Sunset on St. Germain" by Rebecca Plotnick captures a romantic Parisian rooftop scene, suitable for bedrooms, living rooms, or dining areas. "Porcelain Blue" framed paper prints mimic traditional porcelain designs with watercolor paint on paper, fitting country or elegant interior styles. Recycled deer head wall art is crafted from birch shipping pallets, offering a unique and creative touch for various home settings. "Le Vie Ballet" paper prints are charcoal sketches with pink shading and white highlights, presented in jelutong wood frames with a gold-leaf finish, available individually or as a set of three. Meda seagrass wall art, a set of five woven pieces, suits Southwestern, organic, or boho-chic décor, featuring designs created with three shades of seagrass. "Peace" by Walker Noble, an artist who has collaborated with major brands, is a striking piece that some compare to Warhol or Matisse. "Peace & Tranquility" by Melissa Koby depicts a soothing scene and can be complemented by her other works, "Unity" and "Hope Rising," to create different moods. Finally, "Puppy Blanket" is a black and white photograph featuring a puppy's nose peeking from a knitted blanket, a charming and adorable piece of art. These selections demonstrate Pottery Barn's commitment to offering a wide range of artistic styles and mediums, suitable for enhancing various home interiors. #PotteryBarn #WallArt #HomeDecor #InteriorDesign #ArtisticCollaborations #PhotographyPrints #AbstractArt #WovenArt #SustainableArt

The exhibition “Je Marchais Pieds Nus Dans L’Étang” by Vincenzo De Cotiis, presented at Carpenters Workshop Gallery in New York City, features a collection of 50 unique works that blur the lines between design and art. This multi-piece spatial composition draws inspiration from Claude Monet’s later water lily landscapes, which became increasingly abstract, translating the ethereal quality of a lily pond into a sculptural experience. The exhibition, whose title translates to “I Walked Barefoot in the Pond,” creates an immersive environment composed of cast white bronze and hand-painted sculpted Murano glass, inviting viewers to experience a marshy dreamscape. The works are characterized by their organic yet slightly sci-fi aesthetic, embracing a duality that De Cotiis describes as both “serene and restless.” Skeletal stems and polished surfaces evoke both natural forms and alien structures, generating a tension between solidity and translucence, stillness and movement. A specially curated ambient soundtrack enhances the meditative atmosphere, encouraging a slow and contemplative viewing experience. Julien Lombrail and Loïc Le Gaillard, founders of Carpenters Workshop Gallery, explain that De Cotiis reimagines Monet's timeless masterpiece through a contemporary sculptural language. The exhibition functions as a cohesive installation, where individual artworks contribute to an overall landscape effect, yet each piece retains its unique significance and identity. The artists discuss how the exhibition primarily explores material transformation, with sculptures appearing as enigmatic creatures with distorted forms and surreal, skeletal stems, reminiscent of water lilies moving beneath the surface. This dynamic spatial composition is designed to make viewers perceive objects differently as they move through the installation, exploring how memory and perception can be distorted or transformed. The use of painted Murano glass and cast white bronze captures the essence of water, with light refracting across the surfaces to create an interplay of opacity and translucency. The exhibition also presents a contemplative counterpoint to the fast-paced urban environment of New York, inviting viewers to slow down and reconnect with the transformative power of nature. By recreating the sensation of a pond with ethereal creatures, the installation encourages a deeper consideration of environmental forces. De Cotiis is noted for his distinctive sculptural language, which merges ancient idioms with futuristic forms. His approach to materials creates otherworldly, reflective surfaces, transforming imperfections and patinas into elements of beauty. In a contemporary design landscape that constantly reinvents age-old materials, De Cotiis suggests that crafted objects can exist simultaneously as timeworn relics and visions of future worlds, pushing the boundaries of collectible design and sculptural practice. #VincenzoDeCotiis #CarpentersWorkshopGallery #SculpturalDesign #ContemporaryArt #MaterialTransformation #Exhibition #MonetInfluence #ImmersiveExperience #CollectibleDesign

The article reviews Tatiana Trouvé's exhibition, "The Strange Life of Things," at the Palazzo Grassi in Venice. Trouvé, an Italian-born artist residing in Paris, is known for transforming everyday objects and overlooked elements of reality into profound works of art. Her exhibition showcases a unique approach to art-making, where detritus and architectural components are recontextualized and re-materialized to challenge perceptions of value and beauty. The core of Trouvé's practice involves starting with aspects of reality typically not considered high in value, beauty, or importance, such as urban debris, discarded items, or mundane architectural elements. She collects these materials, which can include pieces of trash, leftover implements, piles of clothes, pieces of string, and even manhole covers. Instead of conventional artistic interpretations like representation or abstraction, Trouvé transforms these items by altering their site or material. For instance, dirty detritus is recast in bronze, elevating its status to that of sculpture. The original textures and forms of these materials are preserved in the bronze finish, imbuing the finished compositions with a monolithic and monumental quality. Beyond transforming found objects, Trouvé also engages with raw plaster, creating three-dimensional, expressive landscapes from what would typically be a smooth background. Her plaster works monumentalize the ordinary, turning simple surfaces into evocative art pieces through swirls and textures. This technique highlights her ability to flip traditional artistic hierarchies, making the background an active and central element of a composition. This transformative process demonstrates her unique vision in finding expressiveness in unexpected materials. The exhibition extends beyond object transformation to include spatial illusions and deconstructions of the gallery environment. Trouvé manipulates space using elements like angled mirrors and miniature doors. An angled mirror, for example, guides the viewer's eye to a smaller glass plane, creating an optical illusion that distorts perception. A child-sized door, complete with scaled-down hardware, invites contemplation of an artificial and unsettling space, questioning the reality of what lies beyond. These spatial interventions engage the viewer in a direct and experiential way, making them active participants in the artwork. Trouvé also critically engages with the architecture of the Palazzo Grassi itself. She deconstructs the gallery walls by removing their finished top layers, exposing the underlying construction—the slapdash paint or assembly of drywall. This act transforms the hidden, unfinished aspects of the building into intentional artistic compositions. Rather than adding or building up, she incises and reveals what is already present, making the inherent structure of the building a part of her artistic statement. This process highlights the often-overlooked history and materiality of architectural spaces. Another significant aspect of her work involves the poetic manipulation of light and material, such as stretching burlap over windows and walls in the upstairs gallery. This technique reduces light and dark, creating an inner façade that oscillates between scrim and object. By painting the surrounding walls and floor in a similar brown hue, she blurs edges and further integrates the fabric into the space. She also applies broad strokes of white paint to the burlap, enhancing its interplay with light and shadow. In some instances, she deliberately pries apart the fabric, creating a "zipper" effect that adds another layer of intervention. The exhibition's strength lies in its ability to inspire wonder through seemingly simple means and to reveal beauty in the 'abject'—items or elements typically deemed valueless or undesirable. #TatianaTrouve #PalazzoGrassi #ArtExhibitions #InstallationArt #MaterialTransformation #FoundObjects #SpatialIllusion #ArchitecturalDeconstruction #VeniceArt

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

Hitomi Hosono's latest solo exhibition, 'Brook Street: An Artist's Eye,' showcases 30 new ceramic pieces within the historic London showroom of Sibyl Colefax & John Fowler. This unexpected pairing brings contemporary botanical ceramics into a space known for its classic English grandeur, a Mayfair townhouse dating back to 1723. The exhibition, held in association with Adrian Sassoon, strategically places Hosono's works among antique furnishings, often near windows overlooking a lush garden, creating a dialogue between crafted and natural beauty. Hosono's work, while deeply rooted in her Japanese upbringing with its delicate leaf and cherry blossom motifs, also draws inspiration from British influences. A significant example is her 'roses and pansies bowls,' which were inspired by a Colefax and Fowler fabric pattern from 1845. This particular series marked a technical and aesthetic departure for Hosono, as these bowls close inward, offering a sturdier, more tactile surface meant to be touched, contrasting with her earlier, more outward-emanating designs. She expresses a desire for people to experience the softness of the porcelain, akin to touching flower petals. The exhibition also features a tropical-themed series, initially created for last year's Jerwood Makers Open, with energetic patterns of hibiscus, coral, mangrove, and banana leaves. The vibrant colors in these pieces are achieved by mixing pigment directly with porcelain powder, a technique Hosono employs to preserve the intricate lines of her designs, as glaze would obscure them. Her use of the term 'delicate' for her work is an understatement, given the extraordinary level of detail and precision involved. Hosono's artistic process is meticulously labor-intensive. It requires months to perfect plaster molds of tiny leaves and flowers. She then uses modified, sharpened dental tools to add intricate detail to each component before individually applying them to a clay surface. Some pieces are so fragile that they cannot be shipped internationally due to the risk of damage. Notably, in her 'dew drop bowls,' each water droplet is individually carved, a detail she acknowledges might not be immediately noticed but is essential for the beauty of the final work. For the first time, Hosono's drawings are also on display, a decision influenced by Philip Hooper, design director of Sibyl Colefax & John Fowler. Hosono initially resisted this, considering drawings part of her creative process rather than finished products. She uses drawing to understand the structure and beauty of plants, viewing it as a form of anatomical study. She emphasizes that her ceramic representations are not exact replicas but are based on her memories and interpretations of botanical forms, leading to fantastical yet authentic results. She embraces the individuality of her artistic vision, as seen in her distinctive banana leaf pieces. The influence of the Perrier-Jouët Arts Salon Prize, which Hosono won in 2013, is evident in grape-patterned vessels that pay homage to the champagne house's Art Nouveau heritage, and in the overall adventurous and free-spirited nature of the collection. As a member of the Arts Salon, Hosono now contributes to selecting new winners, acknowledging the Salon's role in broadening her artistic horizons and providing a source of inspiration through its gatherings of creative influencers. #CeramicArt #HitomiHosono #LondonExhibition #InteriorDesign #BotanicalArt #ContemporaryCeramics #ArtAndInteriors #SibylColefaxAndJohnFowler #AdrianSassoon

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

Italian brand Marazzi has unveiled five distinct collections of advanced ceramic and porcelain tiles on Dezeen Showroom, catering to various aesthetic and functional preferences. These collections include antibacterial tiles that mimic wood floorboards and high-gloss stone-effect tiles, demonstrating a blend of traditional craftsmanship and modern technology. One of the featured collections is Oltre, a porcelain tile meticulously designed to replicate the appearance of oak floorboards. This collection incorporates an interlocking pattern system that convincingly emulates the natural grain of timber. Available in four colors—white, natural, sand, and caramel—Oltre tiles are versatile for both indoor and outdoor applications. They come with an ultra-matt finish, a slip-resistant coating, and an antibacterial treatment, emphasizing cleanliness and safety. The antibacterial properties make them suitable for spaces where hygiene is a priority, while their durability and aesthetic appeal broaden their applicability in diverse design schemes. Another collection suitable for indoor and outdoor use is Carácter. These porcelain tiles are noteworthy for their composition, which includes 40 percent recycled materials, reflecting a commitment to sustainability. The Carácter tiles present an understated stone effect, achieved through a blend of neutral-colored pebbles of varying shapes and sizes. Despite their luminous finish, these tiles are equipped with Marazzi's StepWise coating, providing an anti-slip surface. The collection is offered in six colors, all within the grey and beige spectrum, allowing for subtle yet sophisticated floor and wall treatments. The Crogiolo Rice collection is a series of handmade modular tiles characterized by a high-gloss finish and natural variations. These tiles draw inspiration from traditional majolica tiles, often adorned with plant patterns and featuring a dense glaze. Despite their intentionally irregular surfaces, the tiles possess straight edges, facilitating precise tessellated installations. Available in three sizes, Crogiolo Rice tiles can be arranged in complementary compositions or mixed to create unique designs. The color palette includes white and off-white hues, alongside three distinct designs that feature nature-inspired motifs in blue, offering a decorative element. Completing the showcase is the Crogiolo Lume range, also part of the broader Crogiolo tile collection. This range is similarly modeled after handmade majolica tiles from the Mediterranean region. These glazed tiles are primarily recommended for wall applications but can be used on floors in areas with low-level foot traffic, such as private residences. The Crogiolo Lume tiles are frostproof and resistant to abrasion, ensuring their longevity and versatility. They are available in a vibrant array of mottled colors, including green, blue, white, black, musk, and greige, providing extensive design possibilities for interior spaces. Additionally, Marazzi has updated its Grande Marble Look collection of porcelain slab tiles, engineered to mimic the luxurious appearance of Venetian terrazzo and marble. These tiles, like the other new collections, are suitable for both indoor and outdoor use and are skid-resistant. They exhibit striking vein and shade variations, offered in a wide range of colors such as deep green and jet black with dark brown veining, providing sophisticated options for large-format applications. Established in 1935, Marazzi is a prominent Italian ceramic tile manufacturer with a global presence in over 140 countries, offering a comprehensive selection of flooring and wall coverings for various settings, designed to emulate natural materials like wood, concrete, marble, and stone. #Marazzi #CeramicTiles #PorcelainTiles #DezeenShowroom #InteriorDesign #FloorCoverings #WallCoverings #HomeDecor #SustainableMaterials

This article details the renovation of a modest rural building, dubbed "Texturized House," by Bongiana Architetture, located in a valley of vineyards in Padova, Italy. The project aimed to transform the existing structure into a contemporary retreat suitable for family celebrations and intimate gatherings, emphasizing atmosphere through light and raw materiality. The design philosophy centers on raw purity, utilizing rough surfaces, exposed materials, and essential details to create a visual and tactile narrative where every surface contributes to the spatial perception. A central feature of the renovation is the double-height barn, re-envisioned as a large, luminous cavity. The design maximizes natural light, allowing it to filter through openings and reflect off textured surfaces, creating dynamic shadows that animate the space. A suspended bookshelf within this volume introduces an intermediate, airy, and intimate area that complements the open space below. The theme of fire serves as a connection between the home's past and present; the original fireplace is preserved in the older section, while a new cast-iron stove becomes a focal point in the barn. The walls surrounding the stove are clad with split terra-cotta tiles, a design by Bongiana Architetture for Terraformae, where the jointing pattern forms the primary decorative element. A notable innovation is the new concrete floor, which reinterprets traditional Venetian terrazzo. Instead of incorporating marble fragments, the design utilizes reclaimed terra-cotta slats, cut from hollow bricks previously used to clad the portico's pillars. This choice creates a material connection between the ground and the building's structure, blending historical memory with contemporary design. The furnishing strategy further reinforces this blend of old and new; carefully selected reclaimed pieces, such as a 1950s kitchen salvaged from an old house and repurposed, contribute to a coherent and lived-in narrative. The 3,229-square-foot project involved several key collaborators, including builder F.lli Schivo, structural and civil engineer Stefano Debiasi, and landscape designer Studio Annachiara Vendramin. Riccardo De Vecchi captured the architectural photography. The overall design of Texturized House seeks to create essential atmospheres through the interplay of raw surfaces and abundant natural light, making every detail and surface integral to the home's story. #BarnRenovation #ItalianArchitecture #TerraCotta #TerrazzoFloor #AdaptiveReuse #RawMateriality #SustainableDesign #ReclaimedMaterials #ArchitecturalLighting

Ceramiche Refin, an Italian porcelain tile manufacturer, has introduced the Foil tile collection, which is designed to emulate the look of natural metallic surfaces. This collection features stoneware tiles available in five distinct finishes: aluminium, burnish, titanium, corten, and verdigris. These finishes are intended to bring a retro charm and a post-industrial aesthetic to various interior spaces, including kitchens, bathrooms, and living rooms, aligning with current trends in furniture design. The Foil tiles are specifically engineered to display visible signs of wear, such as rust and scratches, creating an authentic, aged appearance. This unique characteristic is the result of extensive research conducted by Refin Internal, Ceramiche Refin's dedicated material laboratory. The development process involved two distinct research pathways to achieve the diverse range of metallic looks within the collection. For the metallic grey tones—aluminium, burnish, and titanium—Refin Internal delved into traditional craft techniques, drawing inspiration from the hand-moulded metals created by panel beaters in the Italian automotive industry, particularly those renowned in the Italian Motor Valley. These artisans traditionally sculpt car bodies using hammers, cutters, and their hands. By analyzing these processes, Refin Internal developed a styling effect that enables them to reproduce a similar metallic aesthetic using porcelain, combining high-tech machinery with artisan research and contemporary ceramic production techniques. The result is a ceramic surface that boasts a modern personality while conveying authenticity, manual skill, and a rich handicraft tradition. The tiles feature a gentle, shifting texture with subtle scorings and bright engravings that reveal themselves discreetly, creating a unique and ever-changing harmony, symbolizing the marks left by the processing and reinterpreting the craft of legendary panel beaters. The brighter colors in the collection, corten and verdigris, are designed to replicate the appearance of oxidized metals. For these finishes, Refin Internal focused on understanding how metals age and change through oxidation over time. This research pathway allowed them to create tiles with colors that brighten up for high-impact settings, gradually shifting in shade towards unprecedented orange hues or blue-green elements with warmer, golden hints. Beyond their aesthetic qualities, the Foil tiles offer practical benefits. They are available in various sizes, ranging from 30 by 60 centimeters to 120 by 278 centimeters. The tiles are also highly durable, exhibiting resistance to scratches, acids, and stains. Furthermore, they are capable of withstanding extreme weather conditions, including high temperatures and direct sunlight, making them suitable for a wide range of applications. The versatility of the Foil collection makes it an ideal choice for imparting a modern, high-tech, industrial touch or a more vintage yet contemporary lived-in look to both commercial and residential interiors, aligning with the latest interior design trends. For more information about the Foil collection, additional details are available on Ceramiche Refin's official website. #FoilTileCollection #CeramicheRefin #PorcelainTiles #MetallicSurfaces #InteriorDesign #IndustrialStyle #RetroCharm #HomeDecor #BuildingMaterials

Antolini MilanoDuomo Stoneroom hosted the “I WANT IT WOW” installation by Pietro Terzini during Milan Design Week 2023, showcasing a blend of street art's dynamic energy and the enduring beauty of natural stones. This interdisciplinary project centered on natural stone as a medium, featuring Terzini’s conceptual phrases brought to life through LED lights, inlays, and artworks, captivating visitors and stimulating their imagination. The installation involved Antolini’s advanced technology to meticulously carve Terzini’s phrases into the surfaces of various natural stones from the Antolini Exclusive Collection. Stones like Brèche Fantastique, Dalmata, and Calcite Azul were precisely cut using a high-pressure water jet, while Bianco Lasa|Covelano Vena Oro, Amazonite, and Noirblanc were shaped to form the lettering, creating ink-like elements. Three specific claims— “Good things take more or less 190 million years,” “Made by earth designed with heart,” and “Nothing is written in stone”—were translated into inlays titled “MOMENT,” “NO MISTAKES,” and “CHANGE” on the inner surfaces of double-sided exhibits. Antolini’s commitment to research, innovation, and technological progress, combined with their expertise in the ancient art of inlay, enabled them to transform natural stones into smooth canvases for Terzini’s phrases. This fusion of traditional techniques and modern artistry resulted in a unique poetic experience. The deliberate combination of different stones in the inlay process, each possessing distinct geological formations, colors, and mineral compositions, produced striking chromatic and textural contrasts. This visual impact, intended to evoke a profound sense of awe, directly inspired the installation's title, “WOW.” Alberto Antolini, CEO of Antolini Italy, highlighted that “I WANT IT WOW” aimed to inspire new possibilities in combining art, design, and innovation, with natural stone at its core. He emphasized that the harmonious integration of these elements demonstrated the extensive processing capabilities of stone through technology. He further explained that inlay technology was essential for translating Terzini’s creative vision, followed by a meticulous craftsmanship phase involving the manual assembly of hollow and solid stone pieces. The process concluded with stone polishing to enhance perspective effects and highlight the intricate inlays. Another part of the exhibition, titled “AFFAIR,” featured a luminous invitation—“Do you want to take a bath with me?”—displayed on a Lumix Crystal bathtub, encouraging viewers to embrace uninhibited experiences. The Perception Wall within the Antolini MilanoDuomo Stoneroom, also featuring Terzini’s input, conveyed the message, “Nothing is as it seems,” encouraging self-exploration. Pietro Terzini expressed his pride in the collaboration, noting that the artworks combined Italian craftsmanship with his ironic style, resulting in distinctive pieces. The collaboration reinforces the identity of Antolini MilanoDuomo Stoneroom as a vital hub in Milan. Since its opening two years prior, it has served as a laboratory and meeting point for architects, designers, and enthusiasts globally, focusing on the diverse applications and captivating nature of natural stone. #MilanDesignWeek #NaturalStone #PietroTerzini #Antolini #ArtInstallation #MaterialInnovation #InteriorDesign #Craftsmanship #DesignExhibition

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

The annual 1000 Vases exhibition in Paris, founded in 2018 by Francesco Pirrello, celebrates the vase not merely as a container for flowers, but as a standalone object of art. Pirrello's vision for the exhibition prioritizes unique pieces from independent and emerging artists, asserting that a truly good vase does not require flowers to demonstrate its aesthetic merit. This perspective was inspired by his friend Roberto Baciocchi, an Italian architect and avid vase collector. Initially conceived to feature a large quantity of works, symbolizing abundance and diversity much like the '1000-sheet' delicacy of mille-feuille or the fables of 1001 Arabian Nights, the exhibition ultimately adopted a 'less is more' approach, showcasing around 100 items. This adjustment aimed to allow visitors to appreciate each piece individually and engage with the artists. Pirrello observes that contemporary vase-making trends show a predominance of women artists and a preference for ceramic materials, noting that vases are accessible, affordable, and easily incorporated into any space, referring to them as "democratic objects." This year's 1000 Vases exhibition, running during Paris Design Week until September 8, highlights the works of eight participating artists, each bringing a distinct perspective and technique to the art of vase creation. Chous Ceramics, a duo from Sparta, Greece, presents hand-built sculptures that explore balance and tension, drawing inspiration from nature and Greek ceramic history. Their predominantly beige vases are characterized by voluminous bases and open, elegant rims. Belgium-based artist Dietmar Michiels, born in 1988, works with ceramic sculpture, employing coiling, plating, and throwing techniques with porcelain and glaze to create imaginative, creature-like pieces often accompanied by conversational titles. His work draws from everyday inner experiences, the mystical, historical art, the occult, and various cultural identities. Hellen Song, an artist from Shanghai now based in Toronto, uses ceramic vessels to delve into themes of the human condition, philosophy, and nature, often influenced by the supernatural and Impressionistic mark-making. Her exhibited stoneware vessel, with its blue and white tones, evokes a seascape, representing a range of emotions through the metaphor of water bodies. The collaboration between French artist Coco Brun and Mexico City-based Sten Studio yields the 'Mistico' vase, a geometric, multi-colored piece made from red travertine, Venetian marble, and pink onyx. This work pays homage to Meso-American culture, with each color carrying symbolic meaning related to rituals, fertility, and the balance of masculine and feminine energies, inspired by Meso-American architecture. Norwegian artist Karin Amdal presents 'Pluss', a pair of smooth, round terracotta pots designed to form a 'plus' sign when combined, showcasing her style of creating simple yet characterful pieces that often incorporate extensions or words. Amdal's inspiration stems from nature and everyday life, with her pieces designed to be open to interpretation and evoke a smile. Magdalena Zarychta, a multidisciplinary Polish artist specializing in decorative and stained glass, showcases her (COM)PRESSION vase. This hot-formed, blown glass object is hand-shaped, embossed, and features botanical markings, symbolizing traces of the past akin to fossils. Istanbul-based artist Sara Montazeri's coral reef-like artwork, crafted from stoneware clay, pays tribute to the 13th-century Sufi poet Rumi, incorporating his words "You are my soul and my world" in gold Farsi script, blending tradition with modern organic design. Finally, New York City-based writer and artist Emily Tate Moreu, inspired by ancient Greek pottery, creates minimalist, thoughtful pieces that explore the philosophies of form and human interaction, including greige vessels, abstract sculptures, and a stoneware candelabra. #VaseExhibition #ArtisticVases #CeramicArt #IndependentArtists #ParisDesignWeek #ContemporaryDesign #HomeDecor #SculpturalVases #DesignTrends

Marazzi, an Italian ceramics company, has launched its new Crogiolo Rice collection, a line of porcelain tiles designed with an authentic, handmade aesthetic. These tiles feature hand-painted designs and subtle irregularities, such as pitting, smears, and variations in texture, which contribute to their unique character and vibrant appearance when installed. The collection is inspired by thick-glazed majolica tiles, giving them a lustrous, glossy finish. The color palette primarily consists of whites and blues, aiming to impart a lively and welcoming atmosphere to interiors. The Crogiolo Rice tiles are part of Marazzi's broader Crogiolo collection, which represents the company's commitment to blending traditional craftsmanship with industrial technology. This approach allows for the creation of ceramic products that celebrate authentic, colorful, and decorated designs while benefiting from modern manufacturing processes. The brand emphasizes that the minor imperfections in each tile, including grainy surfaces or slight chipping around the edges, are intentional features that enhance the handmade feel and ensure no two pieces are identical. Rectified edges allow for minimal joint lines, further highlighting the tiles' surface qualities. The collection is available in three distinct sizes: 15 by 15 centimeters, five by 15 centimeters, and 7.5 by 20 centimeters. These varying dimensions offer flexibility for different design applications. The subtle shifts in color tone, shadowing, and minute variations in the concave-convex forms are carefully controlled to create a visually rich and dynamic effect. Marazzi's design philosophy for the Crogiolo collection draws from its rich heritage, particularly from a series of booklets developed in the 1980s called 'Il Crogiolo.' These booklets documented 112 projects, illustrating various decorative techniques and capturing insights from potters and designers. This historical resource continues to serve as a source of inspiration for Marazzi's current product development, ensuring a continuity of craft and innovation. The Crogiolo Rice collection is positioned as a testament to Marazzi's ongoing research into materials, colors, glazes, and technological advancements, all while preserving the essence of handmade artistry. The tiles are suitable for various applications, bringing a touch of traditional charm and modern sophistication to residential and commercial spaces. #Marazzi #PorcelainTiles #Ceramics #HandmadeDesign #TileCollection #InteriorDesign #HomeDecoration #BuildingMaterials #SurfaceDesign

The art collective rAndom International, known for their interactive and experimental works, has unveiled a monumental outdoor installation titled 'Tower: Instant Structure for Schacht XII' at the Zollverein Coal Mine Industrial Complex in Essen, Germany. This performative structure, a towering shower, cycles an impressive 30,000 liters of water per minute. The choice of location is particularly significant, as the world heritage site requires approximately 6 million cubic meters of water to be pumped out of its former mines annually to maintain the structural integrity of the entire region. The installation ingeniously harnesses this native resource to fuel its ambitious design. This marks rAndom International's first outdoor installation, following their highly successful 'Rain Room' project, which similarly featured large quantities of water in an architectural context. The 'Tower' creates an ephemeral, yet intensely loud, man-made storm, leaving a palpable film of moisture in the surrounding air. The controlled and structured application of such vast amounts of water animates the space, transforming the static architecture of the former industrial site into a dynamic, experiential environment. The project aims to explore new possibilities for engagement with and access to historic industrial spaces that were not originally designed for human or social interaction. It creates a striking juxtaposition between the simulated, temporary architecture of water and the solid, permanent buildings of the coal mine complex. 'Tower: Instant Structure for Schacht XII' was commissioned by Urbane Künste Ruhr for the RuhrTriennale 2013. The installation offers a unique sensory experience, allowing visitors to witness and interact with the immense power and movement of water on a grand scale. The constant flow and visible presence of water highlight the ongoing ecological and structural relationship between the site and its natural resources. By transforming a necessity—water removal from the mines—into a captivating art installation, rAndom International brings attention to the hidden processes that sustain such industrial heritage sites, while simultaneously offering a fresh perspective on architectural possibilities and the interplay between natural elements and constructed environments. The artwork's powerful visual and auditory components, combined with the tactile sensation of moisture, create an immersive experience that challenges perceptions of space, structure, and nature within an industrial setting. It invites contemplation on the history and future of such sites, and the potential for artistic intervention to reveal new layers of meaning and engagement. The installation ran daily from 10 AM to 1 AM until October 6, 2013, offering a temporary yet impactful transformation of the Zollverein complex. #ArtInstallation #InteractiveArt #WaterArt #Ruhrtriennale #ZollvereinCoalMine #OutdoorInstallation #EphemeralArchitecture #PublicArt #RandomInternational