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I Z N I K T i

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A b o u t

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During the focal point of Iznik Ceramic art in the 15th and 16th centuries, artisans in Iznik transferred knowledge of Iznik ceramic artmaking from one generation to the next, from master to apprentice. However, secretive or non-existent record-keeping was one of the key reasons for the disappearance of the Iznik art after 17th century. The Iznik Foundation has been successful in reviving the art of Iznik by rediscovering original recipes. Efforts and discoveries where the results of over 2 years of Research & Development, aided by Mimar Sinan University, Research Institute of Turkey TĂœBÄ° I TAK and Princeton University. This has allowed For the past 20 years, the production of handmade Iznik Art using the original and ancient techniques. Today, our organization continues to produce original handmade ceramics using the same traditional techniques. By doing so, it is one of the few Iznik ateliers that still uses the laborious and time-consuming and traditional production methods. The techniques and recipes are carefully being documented and catalogued to preserve the Iznik ceramic art making for generations to come.


C O N T E N T H A N DM A DE

7

PRO DUCTION PROCE S S S H A PE S A N D S IZ E S T IL E L IN E S I / Ş E H Z A DE LIN E

8 10 11 12

II / S U L T A N LIN E

26

III / H ÜN KA R LIN E

74

Rumi Design Floral Design Geometrical Design Çiniiçin Design Çintemani Design Galleon Design Kubadabad Design Various Design

Naturalistic Design Botanical Series Scenery Design Calligraphy Design Collaborations

T E CH N IC A L S PE CIF ICA TION S T IL E PA T TE RN S

28 34 44 50 54 58 62 68

76 88 90 98 100

122 124


H A N D M A D E


Q UA R T Z The Iznik Foundation produces tiles using traditional 16th-century techniques. Iznik Foundation tiles are special because they contain 85% quartz, a semi-precious stone. The type of quartz tiles produced is traditionally referred to as chini, separating it from standard industrial or clay based tiles, such as porcelain or terracotta tiles.

IZ N IK With offices in Amsterdam and Istanbul, the production is carried out in our workshops in Iznik. The production of a completely handmade tile takes several days. Each part of the process is carried out by craftsmen with particular expertise – for example, each color is not only produced, but also applied by that color’s expert.

A P P L ICATION S In terms of design, we continue to produce traditional patterns, but also constantly strive to create new contemporary designs through in-house design department as well as collaborations with local and international artists, designers and architects. Iznik quartz ceramics have a variety of artistic applications in residential and office buildings, hotels, schools – any space where visual aesthetics may be emphasized in terms of colour, form and tradition.

IN N O VA TION In addition to production in the ateliers in Iznik, a Research & Development facility employs the latest technologies to the traditional Iznik art. Contemporary technology and innovation are applied to further improve the quality and production methods of the tiles. Additionally, this translates into product development such as Iznik glazed bricks or tiles that are applied to various products like kitchen appliances, bookshelves or tabletops.

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P R O D U C T I O N

P R O C E S S

LAYER 1 / B I S CUIT · · Blocks of quartz are selected and manually broken into pieces. · · Clay is laid in water for a day, then boiled and filtered through a cloth sieve. · · Quartz is added to the filtered clay to produce paste. · · Homogeneous paste rests for one day. · · The paste is then left to dry for 7­ days on wooden shelves in drying rooms. · · The edges of the plates are manually sandpapered to obtain the standard size.

LAYER 1 / U N DE RCO A T · · A thick liquid paste is prepared with clean and very finely powdered quartz and clay. · · This mixture is flowed equally over the plate to obtain a flawless surface. · · The tile is air­d ried in natural surroundings for at least 10 days. · · It is then kilned at 930° · · The tile is left to cool off before being sent to the design ateliers. · · The biscuits are dusted off with air compression pistols.

LAYER 1 / P AIN T · · Designs are prepared on sketching paper, which are pin­h oled by hand then and transferred on to the biscuit tiles with charcoal powder. · · The tiny dots which form the design or motif on the biscuit tiles are contoured in dark blue or black colours. · · The parts in between are painted with colours.

LAYER 1 / G L A Z E · · The glaze is obtained by mixing quartzmetal oxides and soda. · · This glassy bulk is broken into small pieces, washed, sifted and dried. · · The glazing mixture is prepared with the use of a water­b ased organic blender and distributed equally over the designed and painted tiles. · · The glazing is fired for the same length of time as the biscuit. 8


I Z N I K

T I L E S


S H A P E S

A N D

S I Z E S

S QUA R E TI L E S IZ E S

S i z e ( cm)

Ti l es/m

A ppl i c a t io n

Weig ht

T hic k ness

St r e n g t h

8x8

156,25

Wall / Floor

75 gr.

4 mm

5 ,5 Mohs

10x10

100

Wall / Floor

120 gr.

5 - 7 mm

6 Mohs

12x12

69,44

Wall / Floor

250 gr.

7 mm

6,5 Mohs

20x20

25

Wall / Floor

900 gr.

12 mm

6 ,5 Mohs

23,5x23,5

18,10

Wall / Floor

1.200 gr.

13 mm

6 ,5 Mohs

29,5x29,5

11,49

Wall / Floor

1.400 gr.

14 mm

6 ,5 Mohs

30X30

11,11

Wall / Floor

1.400 gr.

14 mm

6 ,5 Mohs

42X42

5,66

Floor

4.700 gr.

15 mm

6 ,5 Mohs

RECTA NG U L A R T IL E S IZ E S

S i z e ( cm)

Ti l es/m

A ppl i c a t io n

Weig ht

T hic k ness

St r e n g t h

26,3x13

29,25

Wall / Floor

900 gr.

13 mm

5,5 Mohs

40x12 cm

20,83

Wall / Floor

1.460 gr.

5 - 7 mm

6 Mohs

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I Z N I K

T I L E S

OTH ER TI L E S H A P E S

Triangle

Diamond

Cross

Pentagon

Hexagon

Octagonal

Octagram

Circle

CHA R AC TER IS T ICS O F IZ N IK TILE S ·· ·· ·· ·· ·· ·· ··

Fully handmade Consisting of 85% quartz Sizes range from 8 to 42 cm Various possible shapes and combinations Authentic production processes Applicable to walls, floors and ceilings Indoor and outdoor usage

WE O F F ER O UR H A N DMA DE TILE S IN TH RE E LIN E S · · Hünkar Line (p. 12) · · Sultan Line (p. 26) · · Şehzade Line (p. 74)

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Ĺž e h z a d e L i n e A choice of 57 brilliant unicolors.

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T H E F O U R C L A S S I C C O L O R S O F I Z N I K A R T

Ş E H Z A D E

TURQUOISE

LAPIS LAZULI

An opaque, blue­ to­ green mineral prized for thousands of years for its unique powerful color. In many cultures, turquoise is the symbol of good fortune, a talisman.

A deep cobalt blue semi­- precious stone famous for its intense color. When grinded into a powder it turns ultramarine, a fine and valuable blue pigment.

MALACHITE

CORAL RED

A copper carbonate hydroxide mineral with an opaque, green banded color. The moderately lightfast pigment varies in color from bright green to dark or even blackish green.

The distinctive bright bol red introduced to Iznik ceramic art only around 1550, since it was extremely difficult to obtain. The red slip containing iron oxide was applied in a thick layer under the glaze. 15


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Åž E H Z A D E

U N I C O L O R S

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Private Residence Istanbul

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Åž E H Z A D E

U N I C O L O R S

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Raw pigment powder

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Åž E H Z A D E

U N I C O L O R S

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Åž E H Z A D E

U N I C O L O R S

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Corporate branding Wagamama Restaurant, Istanbul

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U N I C O L O R

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Åž E H Z A D E

G R A D E D

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Ş u l t a n L i n e ·· ··

A broad collection of designs such as geometrical and floral motifs. A choice of 57 brilliant unicolors.

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R U M I

D E S I G N

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S U L T A N

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Kubadabad Design is a motif derived from the old Kubadabad Palaces of the Seljuks. The Seljuks were a subdivision of the Kiniq clan of Oghuz Turks, originating on the steppe north of the Aral Sea. The Kubadabad Palace was a complex of summer residences built for sultan Kayqubad I (1220–1236) in south-west Central Anatolia, Turkey. Excavations at Kubadabad Palace uncovered a magnificent series of polychrome ceramic tiles. Painted with an underglaze of blue, purple, turquoise and green, the series consists of white, star-shaped figural panels alternating with turquoise crosses. The subjects of the tiles include humans, and animals both real and fantastic.

Hammam - Ritz -Carlton, Istanbul

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R U M I

S U L T A N

D E S I G N

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Hammam - Ritz -Carlton, Istanbul

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Private Residence, London

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F L O R A L

S U L T A N

D E S I G N

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Ottoman ceramic artists took much of their inspiration from nature and created designs incorporating stylized leaves with recognizable plants, flowers, and trees. Familiar species depicted on this plate include tulips, and cypress trees. The “potters’ style� that included novel features such as a new floral thematic register; or a series of pieces imitating Chinese models to a greater or lesser degree of fidelity. This wave of Chinese inspiration was apparent in the introduction of themes such as the three bunches of grapes, the lotus bouquet, and the floral spiraling scrollwork in reserve on the center of dishes that would be constantly reinterpreted over the following decades.

Bank headquarters, Ankara

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F L O R A L

S U L T A N

D E S I G N

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Sheikh Zayed bin Sultan Al Nahyan Mosque, Abu Dhabi 38


F L O R A L

S U L T A N

D E S I G N

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Tile mural - Mosque, Istanbul

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F L O R A L

S U L T A N

D E S I G N

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F L O R A L

D E S I G N

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S U L T A N

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In Iznik art, geometrical motifs were popular designs. Islamic decoration makes great use of geometric patterns which have developed over the centuries. Many of these derived from various earlier cultures: Greek, Roman, Byzantine, Central Asian, and Persian. They are usually distinguished from the arabesque, the term for decoration in Islamic art based on curving and branching vegetal forms. Mainly because depicting humans and animals was forbidden in many Islamic cultures, geometrical designs were widely spread in islamic art.

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Retail showroom, Istanbul


G E O M E T R I C A L

D E S I G N

S U L T A N

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G E O M E T R I C A L

D E S I G N

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S U L T A N

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G E O M E T R I C A L

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D E S I G N

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S U L T A N

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Ç I N I I Ç I N

S U L T A N

D E S I G N

Akın Akbaygil

Bülent Erkmen

Canan Dağdelen

Canan Tolon

Ebru Tabak

Emre Senan

Ettore Sottsass

Günnur Özsoy

Han Tümertekin

Ismet Dogan

Mine Ertan

Murat Morova 51


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Ç I N I I Ç I N

Nevzat Sayın

S U L T A N

D E S I G N

Ömer Uluç

Osman Dinç

Zaha Hadid

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Çintemani is an Ottoman decorative motif that appears in textiles, tiles and ceramic items. It can be composed of a group of three circles arranged in a triangle. Or it can be a pair of wavy lines. Further, the circle, which often contains a dot, can transition into what appears to be a crescent with the tips of the horns touching, or nearly so. Scholars debate the source and meaning of the pattern. Some point to Central Asian Buddhism, since, in Tibetan Buddhism, cintamani (a Sanskrit word) is the wish-fulfilling jewel and the circular motif could be that glowing pearl. The wavy lines that can be clouds or waves borrowed from Chinese and Tibetan art. Others think that these patterns were originally used in Central and Eastern Asia as animal patterns, wavy tiger stripes and circular leopard spots.

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Ç I N T E M A N I

S U L T A N

D E S I G N

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Ç I N T E M A N I

D E S I G N

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S U L T A N

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The Ottomans became the most powerful maritime Empire in the Mediterranean in the first half of the sixteenth century. After the Ottomans took control in the Black Sea, they returned to the Mediterranean, and began to develop their navy yards and to build ships. Ottoman mariners investigated Venetian, Genoese and Spanish ships for a long time and started to build both รงektiriler (oared fighting ships) and kalyonlar (galleons) in the Venetian style. Because of this maritime tradition, ships and galleons and other type of ships became popular themes in Iznik ceramic art.

Retail showroom, Istanbul

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G A L L E O N

S U L T A N

D E S I G N

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Retail showroom, Istanbul

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G A L L E O N

S U L T A N

D E S I G N

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Kubadabad Design is a motif derived from the old Kubadabad Palaces of the Seljuks. The Seljuks were a subdivision of the Kiniq clan of Oghuz Turks, originating on the steppe north of the Aral Sea. The Kubadabad Palace was a complex of summer residences built for sultan Kayqubad I (1220–1236) in south-west Central Anatolia, Turkey. Excavations at Kubadabad Palace uncovered a magnificent series of polychrome ceramic tiles. Painted with an underglaze of blue, purple, turquoise and green, the series consists of white, star-shaped figural panels alternating with turquoise crosses. The subjects of the tiles include humans, and animals both real and fantastic.

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K U B A D A B A D

S U L T A N

D E S I G N

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K U B A D A B A D

D E S I G N

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S U L T A N

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K U B A D A B A D

S U L T A N

D E S I G N

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H E X A G O N A L

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S U L T A N

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U N I Q U E

D E S I G N S

Relief 3d

Mosaics

Names and Numbers

Eli Belinde Design (Hands on her hips, female figure) 70


S U L T A N

Church

Kaaba

Clouds 01

Clouds 01

Fauna Design 01

Fauna Design 02

Fauna Design 03

Fauna Design 04

El Design 01

El Design 02

El Design 01 71


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U N I Q U E

S U L T A N

D E S I G N S

Piri Reis Design 01

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Piri Reis Design 01

Piri Reis 02

Piri Reis 03

Golden Horn Design

Marble design 01

Marble design 01 73

Piri Reis 04


H u n k a r L i n e 路路 路路

A broad collection of designs such as geometrical and floral motifs. A choice of 57 brilliant unicolors.

Marmaray Sirkeci Station

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Çinili Hamam, Istanbul

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N A T U R A L I S T I C

D E S I G N

H Ü N K A R

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Çinili Hamam, Istanbul

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N A T U R A L I S T I C

D E S I G N

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N A T U R A L I S T I C

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H Ü N K A R

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N A T U R A L I S T I C

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H Ü N K A R

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Hammam – Ritz-Carlton, Istanbul.

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N A T U R A L I S T I C

D E S I G N

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N A T U R A L I S T I C

D E S I G N

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H Ü N K A R


B O T A N I C A L

D E S I G N

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H Ü N K A R

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S C E N E R Y

Istanbul Palace of Justice.

Istanbul Palace of Justice. 90


H Ü N K A R

Marmaray Sirkeci Metro Station, Istanbul.

Marmaray Üsküdar Metro Station, Istanbul. 91


S C E N E R Y

Marmaray ĂœskĂźdar Metro Station, Istanbul.

Marmaray Sirkeci Metro Station, Istanbul. 92


H Ăœ N K A R

Metro Station, Ankara.

Marmaray Sirkeci Metro Station, Istanbul. 93


Levent Metro Station, Istanbul.

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H Ăœ N K A R

S C E N E R Y

Levent Metro Station, Istanbul.

Levent Metro Station, Istanbul.

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S C E N E R Y

Wagamama Restaurant, Istanbul

Marmaray Sirkeci Metro Station, Istanbul 96


H Ü N K A R

Marmaray Üsküdar Metro Station, Istanbul

Turkish pavilion, Expo 2000 Hannover 97


Until 1928 after the end of the Ottoman empire, the Turkish language was written in Arabic scripture. Also the artisans in Iznik were skilled in Arabic calligraphy art. Islamic calligraphy is derived from the Persian calligraphy. It is known in Arabic as khatt which comes from the word ‘line’, ‘design’, or ‘construction’. In addition to tiles, Islamic calligraphy is applied on a wide range of decorative mediums such as paper, carpets and inscriptions on buildings. Popular themes of Islamic calligraphy include the name of the Prophet Muhammad and the 99 names of Allah and other scriptures from the Quran.

Calligraphy, Al Amine Mosque, Beirut.

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H Ü N K A R

C A L L I G R A P H Y

Sheikh Zayed Mosque Abu Dhabi 01

S I N G L E

Sheikh Zayed Mosque Abu Dhabi 02

C A L L I G R A P H Y

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T I L E S

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Sheikh Zayed Mosque Abu Dhabi 03

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C O L L A B O R A T I O N S

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E l i c a

Established in the 1970’s, Elica has been a leader in the design and manufacture of range hoods for domestic use. Movement and stability, expertise and curiosity and revolution and solidity describe the character of Elica’s products. In 2005, Elica and Iznik Foundation collaborated on an exclusive line of hoods (Davlumbaz).

Cooker hood with Iznik Tiles Elica Davlumbaz, Italy

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H Ü N K A R

Cooker hood 01

Cooker hood 02

Cooker hood 03 101


C O L L A B O R A T I O N S

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I n d i a

M a h d a v i

Iranian-born architect and designer India Mahdavi founded her studio in 1999 and opened her showroom in 2003 in Paris. In recent years she featured AD 100 List of the world’s best interior designers and architects. Together with Iznik Foundation, India Mahdavi designed a range of side tables and vases under the name ‘Landscape’ series. The tables were first presented during the gallery’s debut appearance at Design Miami / Basel in June 2013. The collection unites Mahdavi’s trademark colour and geometrics with the opulent 16th-century Ottoman tradition, a key inspiration. The India Mahdavi and Iznik collaboration was presented at the Carwan Gallery in Lebanon. The Gallery strives to reinvent Middle Eastern craft in a succession of unique contemporary objects. Carwan gallery was established by architects Pascale Wakim and Nicolas Lecompte in 2010. 102


H Ü N K A R

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C O L L A B O R A T I O N S

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I n d i a

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M a h d a v i


H Ü N K A R

Landscapes 01

Landscapes 02 105


C O L L A B O R A T I O N S

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K I K I

V A N

Restaurant and foyer, Theater Podium MozaĂŻek, Amsterdam. Panel Design: Kiki van Eijk (Eindhoven). Interior Design: Studio RIANKNOP (Amsterdam). Image courtesy of Philip Jintes Photography. 106

E I J K


H Ü N K A R Dutch Designer Kiki van Eijk studied at the Design Academy Eindhoven (The Netherlands) where in 2000 she graduated with distinction with her hand-knotted carpet ‘We’re living in a doll’s house’ (‘Kiki Carpet’). She runs her studio together with her partner and Dutch designer Joost van Bleiswijk. Currently, the design couple is working in a former Philips paper factory in Eindhoven, including their own carpentry workshop, metal workshop, showroom and offices. In addition to her own projects and designs, Kiki van Eijk worked on assignments for brands such as Studio Edelkoort Paris, Hermès, MOOOI, Royal Leerdam and Royal Ahrend. In 2012, together with a group of students from the Design Academy Eindhoven, Kiki van Eijck worked at the atelier of Iznik Foundation. During her time in Iznik, she produced several tile and ceramic designs. In addition, in 2016 Kiki van Eijk designed the 80 square meter tile panel for the renovated interior of the restaurant at theater Podium Mozaïek in Amsterdam (The Netherlands).

107


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J e n s

P r a e t

Flemish Designer Jens Praet (1984) studied architecture and foreign languages in Belgium, graduated in Industrial and Communication Design at I.S.I.A. Firenze in Italy (2006), and followed the IM Master course in Conceptual design in Context at the Design Academy Eindhoven in the Netherlands (2007). Jens’ work ranges from pure products to graphic related designs. In his studio in San Gimignano, a beautiful medieval town near Siena in Italy, he is working and experimenting on a variety of new products. In 2014, Jens Praet and Iznik Foundation collaborated on a line of tables and bookshelves using Iznik tiles. The Processus Series, manufactured in Turkey by the Iznik Foundation with the assistance of studio collaborator Lara Karaso, highlights the design process, as well as the hidden components that result in a final structure. The patterned, hand-painted Iznik quartz tiles that cover the European walnut under-structures may appear to be purely decorative. However, the pattern of the tiles actually illustrates the blueprint of the design, including the honeycomb cardboard inner-core and aluminum guides. Furthermore, the Processus Series exhibits how Jens relies on traditional materials to contrast his contemporary emphasis on process.

108


H Ü N K A R

109


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J e n s

110

P r a e t


H Ăœ N K A R

Processus Console

Processus Table 111


C O L L A B O R A T I O N S

/

S a r a h

112

B a r u h

D e s i g n


H Ăœ N K A R Painter Sara Baruh (1955) was born in Istanbul and since 1980 has been living and working in Geneva and Istanbul. She moved away from figurative art when she discovered the richness and the liberty that abstraction was offering. Geometrical forms and lines are mostly combined with gray, white, beige and blue notes. In her work, Sara Baruh uses various materials, including old newspapers, colored silk papers and oils. Sara Baruh developed a large tile mural using Iznik coral red, produced by the Iznik Foundation.

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H Ü N K A R

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H Ăœ N K A R Dutch Designer Ebru Durmaz started her design label Ebruze in Rotterdam in 2009. Ebru was named after the traditional Turkish art form of marbling, creating colorful patterns by sprinkling and brushing color pigments on a pan of oily water and transforming these patterns on paper, cloth or other absorbing materials. Just like her mother, Ebru became a professional Ebru artist, combining modern influences with this ancient tradition. Ebruze supplies various fashion items such as jackets, dresses and scarves, as well as pillowcases, all with her own handcrafted Ebru Designs. In 2015, Ebru travelled to Iznik to work at the atelier of Iznik Tiles and Ceramics. This trip resulted in a collaboration with our company and a limited edition line of Ebru Design tiles and ceramics. Ebruze showcased a selection of the Ebru tiles at the Salone del Mobile 2016 in Milan.

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H Ü N K A R

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121


T E C H N I C A L

S P E C I F I C A T I O N S

1. PRODUCT NAME: The standard IZNIK “CHINI” wall or floor tile: The ceramic literature compares Iznik “chini” tiles with other types of earthenware as manufactured manually with high quantity of quartz. It is totally environmentally friendly; a natural product and production process. The finished tile should be processed through 4 layers: 1. Basic paste, also called the biscuit (The basic paste should consist of minimum 78-85% quartz (SiO ) minerals.) 2. Coating (liquidized quartz) 3. Under glaze colors (non­h azardous, non­t oxic natural colours) 4. Glaze (high content of quartz) 2. GENERAL STANDARDS of the PRODUCT: · · The “chini” tiles do not require the use of sealers or surface coating due to the highly glazed surface. · · The tiles are stain resistant. · · Thickness tolerance do not exceed +/­ 0.5 mm. · · Allowance of nominal variation do not exceed 10%. · · Custom sizes are adaptable by producer. · · The natural colours used in the underglaze patterns are produced in our own laboratories to obtain the various shades required and do not have any chemicals involved. · · Applicable on facades outdoors as well as indoors. Products are be endorsed with international certifications as: · · ISO 9001­2 008 standards (quality audit reports during and after production should be available) · · D&B D­U ­N ­S number (for international recognition) · · Membership with “UNIC – Urban Networking for Innovation in Ceramics” (quality recognition by international institutions) · · Membership with “Cultural Route of the Council of Europe”. Certified by an Internationally Accredited Forum. 3. The following test reports should be updated by international testing centres to ensure the chemical and physical characteristics of the Iznik tile according to the TSE (The Institute for Turkish Standards) for the similar wall covering materials. TS TS TS TS TS TS TS

EN EN EN EN EN EN EN

ISO, 10545­4 , Determination of Breaking Strength and Modulus of Rupture ISO, 10545­9 , Determination of resistance to Thermal Shock, ISO, 10545­1 1, Determination of Crazing Resistance for Glazed Tiles ISO, 10545­3 , Determination of Water Absorption in apparent porosity and relative density ISO, 10545­1 2, Determination of Frost Resistance ISO, 10545­1 3, Determination of Chemical Resistance 101 ISO, Mosh, the Determination of Hardness of the Glaze

As no technical standard is set universally to distinguish the traditional Iznik tile from others; comparison will be made with other similar elements based on the TS EN 14411 “Ceramic tile­ tariff, classification, feature and markings that are found on the chart (3.1). 4. Dimensions of the Iznik tile: Iznik tiles employ principally the square form; its module corresponding to the dimensions of an open hand palm. This can be seen as a clear relationship established with human morphology and scale, where the repetitive module and geometry with their subsequent patterns reinforce this variety of scale. Contemporary research and technical developments undertaken in the production of tiles have enabled the manufacturing of tiles of the same finish and quality as their predecessors. The tiles in Ottoman architecture are traditionally triangular, square, hexagonal, six pointed star or in the form of a cross. The manufacturer should be able to produce the required shape and size besides the traditional dimensions as stated below. 122


H Ăœ N K A R The dimensions can vary +/­ 2 mm as the production is hand made. Border tiles are produced according to the project and design. Si ze ( c m )

T i l e s/ m

Ap plic a t ion

Weigh t

T h ic kn es s

Strength

8x8

156, 25

W all / F l oor

75 g r .

4 mm

5, 5 Moh s

10x10

100

W all / F l oor

120 g r .

5 - 7 mm

6 Moh s

12x12

69, 44

W all / F l oor

250 g r .

7 mm

6, 5 Moh s

20x20

25

W all / F l oor

900 g r .

12 mm

6, 5 Moh s

2 3 ,5 x 2 3 ,5

18, 10

W all / F l oor

1.200 g r .

12 mm

6, 5 Moh s

2 9 ,5 x 2 9 ,5

11, 49

W all / F l oor

1.400 g r .

14 mm

6, 5 Moh s

30X30

11, 11

W all / F l oor

1.400 g r .

14 mm

6, 5 Moh s

42X42

5, 66

F l oor

4.700 g r .

15 mm

6, 5 Moh s

5. No mechanical press must be used unless required. 6. No printed graphics, transfer patterns or designs are applied on the tiles unless required. 7. Warranty of min. 10 years should be available. 8. Method statement for installation of Iznik Quartz Tiles Iznik Quartz Tiles are pieces of artwork, fully handmade of a high percentage quartz. Therefore the handling during application on walls requires special training and delicate conduct. The most important point is that the designs need excellent knowledge of assembly and reading method of given data sheets. As there is no visible grouting; the technicians adjust the tiles with minimal spacing between joints. The application procedure should not be evaluated by standard tile laying methods. Steps to be observed during installation: 1. Preparation of ground / platform to lay out the wall tiles in consecutive order. 2. Preparation of tan even surface where installation to be made is essential. 3. Preparation prior to the installation it is necessary to choose the correct adhesiveaccording to the location and climatic conditions. 4. Installation, application must be done by a trained professional tile layer. Disclaimer: Please note that all our Iznik products are fully handmade. Variations in color, shade, surface texture and size are natural characteristics of all our products and can be expected. Samples provided are representative, but may not indicate all variations in these characteristics. The colours, shapes and sizes shown on this catalogue are made using the finest Iznik techniques and therefore provide an accurate colour match within batch tolerance at the time of production. Advice is given with good faith but without warranty as methods of application and site conditions are outside our control. 123


T I L E S

P A T T E R N S

1

Square - Straight Course

2

Square - Brickwork

3

Square - Hopscotch

4

Square - Diagonal Course

5

Rectangle - Straight Course

6

Rectangle - Subway

7

Rectangle - Herringbone

8

Rectangle - Semi Basketweave

124


H Ăœ N K A R

9

Rectangle - Framework

10

Rectangle - Full Basketweave

10

Rectangle - Full Basketweave

12

Hexagon - Honeycomb

13

Triangle - Classic

14

Star - Kubadabad

15

Square and Triangle - Classic

16

Pentagon and Star - Classic

125


Iznik Tiles and Ceramics BV Keizersgracht 94 A 1015 CV Amsterdam www.iznik.nl info@iznik.nl Mr. Mehmet Akbaygil – Director mehmet.akbaygil@iznik.nl (+31) (0)6 2524 7589 Mr. Floris Meijer – Business Development Manager floris.meijer@iznik.nl (+31) (0)6 1914 4704 Iznik Foundation Istanbul Cengiz Topel Cad. Tuğcular Sok. No:1/A 34337 Etiler / İstanbul Turkey info@iznik.com (+90) 212 287 3243 Images courtesy of Iznik Foundation Istanbul Concept and Layout: HAM Design, Netherlands (www.hamdesign.co)

©2017. Iznik Tiles and Ceramics BV. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior permission of Iznik Tiles and Ceramics BV.

Iznik Tiles Catalogue 2017  

Tile Catalogue 2017 Iznik Tiles and Ceramics B.V. (Amsterdam), representative office of Iznik Tiles and Ceramics ltd. (Istanbul) and Iznik F...

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