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The corner of the Edwardian House of Architect Aida Bratovic in London is a magnet for people who pose for selfies. For external cladding, she used midnight tiles as an allusion to the past of the property as a shop and post. The glazed backdrop, both “familiar and unexpectedly,” says Bratovic, has become a local topic of conversation.
Ceramic tiles are increasingly pouring out of bathing rooms and kitchens, since interior designers take their information from mosques and palaces, cathedrals and chapter houses to add a glazed shine to the doors, floors, furniture and outdoor matters. In the 19th century they were considered practical and hygienic. For the modernists, the austerity measures of glass and concrete alleviated glazed surfaces. Minimalists were less sharp. Decorative tiles were replaced by monolithic gray or beige. Tiles were bored for a while. No longer.
For designer Scott Maddux, it is her “complexity” that appeals. “You can use tiles to open large excursions in an interesting way.” In a columns dressed in London in London in London, “a soft version of brutalism” was created, he says.
For an art collector study in which the letter was “different”, the interior designer Olivia in Tutti-Frrutti colors with Chevron-tile floor was used. The squares in the dolphin style embellish the door to the living room of designer Angus Buchanan. A library recently designed by Nicola Harding is lined with Inky-black brick tiles. For a food corner Studio Ashby, a Bukolian, glazed mural by the artist Anna Glover, which was produced by the British tile manufacturer Balineum.
Sarah Watson, founder of the Balineum, emphasizes the decorative and architectural possibilities of tiles: “They give depth and movement, like the light of light on water. You don't get this from color or wallpaper. “It encourages customers to use their customizable designs-with stained glazes, hand-painted details or lively characters and animals with“ dedication ”, for stair heights, bars or doors.
Petra Palumbo has a similar attitude. Your ceramic, which is printed in Stoke-on-Trent, can be contrasted or with your collection of background images in shaky candy strips and flowers. “The less Orthodox, the better,” says Palumbo.
It is the approach that the ceramicist Koen Meersman and Kris Scheerlinck, co -founder of Boquita de Cielo, were used in Belgian, when they found damaged tiles from the 19th century in Ghent in her former home. Instead of “complaining” to her loss, the duo, which is now based in East London, decided to make itself.
With a background in architecture and interiors, their murals, tiles and tableau are designed in the 1970s style in the 1970s in order to give brightness and texture. “It's not just about decoration, but also about changing the atmosphere of a room,” says Meersman, quoting a project that is decorated with the Hallmark Stripe of the Fashion designer customer. Another project consisted of 4,000 tiles, all of which were handmade and signed. “They are brothers and sisters. Or removed cousins, ”says Scheerlinck about her tiles. “No two are the same.”
Brent Dzekciorius' Interest in architectural ceramics began with the search for materials “with longevity – and a narrative”. The brick tile-a collaboration with the mämgerisches designers formafantasm-gewen with volcanic ash from the foothills of ETNA. It took months of experimenting to reach the warm colors.
Ashes are usually used as a fertilizer. Dzekciorius, who had previously had a career in the exhibition design, may be the idea of transforming an agricultural food in an aesthetic material. His excinere tiles were used for columns, planters, a bed head and a fountain in a garden, which was designed by the artist Anthea Hamilton for gallery studio Voltaire.
In the UK, ceramic production reached its peak in the 1900s. “Most of the major [pottery] Companies such as Mintons or Burmantoft produced tiles, ”says Kate Cadman, curator of the Ironbridge Gorge Museum Trust in Shropshire. They were exported worldwide. In the MySuru Palace in India, says Cadman, a soil with a “wonderful”, Peacock-Emobied tiles by Maw & Co.
Matthew Raw's furniture is based on his research on these 19th century production methods. His cupboards and side tables, which are sold by the new craft maker, are dressed in handmade tiles. The shiny tones imitate Victorian glazes that were originally based on lead.
“Victorian tiles were so rich – and juicy. The colors change constantly and draw your eye, ”says Raw, who won a Jerwood Makers Prize for his tile cladding” imaginary “pub installation in 2014. “I celebrate that.”
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