Iznik Tiles Catalogue 2017

izniknl

Iznik Tiles Catalogue 2017, produced by Iznik Tiles and Ceramics B.V. (Netherlands). Official representative office of Iznik Tiles and Ceramics ltd. (Istanbul) and Iznik Foundation (Iznik).

IZNIK

T i l e s


A b o u t u s

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 TÜBİITAK 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.


CONTENT

HANDMADE

PRODUCTION PROCESS

SHAPES AND SIZES

TILE LINES

I / ŞEHZADE LINE

II / SULTAN LINE

Rumi Design

Floral Design

Geometrical Design

Çiniiçin Design

Çintemani Design

Galleon Design

Kubadabad Design

Hexagonal Tiles

Various Design

7

8

10

11

12

26

28

34

44

50

54

58

62

68

70

III / HÜNKAR LINE

Naturalistic Design

Botanical Series

Scenery Design

Calligraphy Design

Collaborations

74

76

88

90

98

100

TECHNICAL SPECIFICATIONS

TILE PATTERNS

122

124


HANDMADE


QUARTZ

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.

IZNIK

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.

APPLICATIONS

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.

INNOVATION

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.

7


PRODUCTION PROCESS

LAYER 1 / BISCUIT

··

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 / UNDERCOAT

··

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 air dried 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 / PAINT

··

Designs are prepared on sketching paper, which are pin holed 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 / GLAZE

··

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 water based

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


IZNIK TILES


SHAPES AND SIZES

SQUARE TILE SIZES

Size (cm) Tiles/m Application Weight Thickness Strength

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

RECTANGULAR TILE SIZES

Size (cm) Tiles/m Application Weight Thickness Strength

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

10


IZNIK TILES

OTHER TILE SHAPES

Triangle

Diamond

Cross

Pentagon

Hexagon

Octagonal

Octagram

Circle

CHARACTERISTICS OF IZNIK TILES

··

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 OFFER OUR HANDMADE TILES IN THREE LINES

··

Hünkar Line (p. 12)

··

Sultan Line (p. 26)

··

Şehzade Line (p. 74)

11


Ş e h z a d e

L i n e

A choice of 57 brilliant unicolors.

12


14


THE FOUR CLASSIC

COLORS OF IZNIK ART

ŞEHZADE

TURQUOISE

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.

LAPIS LAZULI

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.

15

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.


16


UNICOLORS

ŞEHZADE

# UNI -01 # UNI -02 # UNI -03

# UNI -04

# UNI -05 # UNI -06 # UNI -07

# UNI -08

# UNI -09 # UNI -10 # UNI -11

# UNI -12

# UNI -13 # UNI -14

17


Private Residence Istanbul

18


UNICOLORS

ŞEHZADE

# UNI -15 # UNI -16 # UNI -17

# UNI -18

# UNI -19 # UNI -20 # UNI -21

# UNI -22

# UNI -23 # UNI -24 # UNI -25

# UNI -26

# UNI -27 # UNI -28

19


Raw pigment powder

20


UNICOLORS

ŞEHZADE

# UNI -29 # UNI -30 # UNI -31

# UNI -32

# UNI -33 # UNI -34 # UNI -35

# UNI -36

# UNI -37 # UNI -38 # UNI -39

# UNI -40

# UNI -41 # UNI -42 # UNI -43

21

# UNI -44


22


UNICOLORS

ŞEHZADE

# UNI -45 # UNI -46 # UNI -47

# UNI -48

# UNI -49 # UNI -50 # UNI -51

# UNI -52

# UNI -53 # UNI -54 # UNI -55

# UNI -56

# UNI -57 # UNI -58

23


Corporate branding

Wagamama Restaurant, Istanbul

24


UNICOLOR GRADED

ŞEHZADE

# UNIG -01 # UNIG -01

# UNIG -01 # UNIG -01

25


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.

26


27


RUMI DESIGN

# RD -01 # RD -02 # RD -03

# RD -04

# RD -05 # RD -06 # RD -07

# RD -08

# RD -09 # RD -10 # RD -11

# RD -12

# RD -13 # RD -14 # RD -15

28

# RD -16


SULTAN

# RD -17 # RD -18 # RD -19

# RD -20

# RD -21 # RD -22 # RD -23

# RD -24

# RD -25 # RD -26 # RD -27

# RD -28

# RD -29 # RD -30 # RD -31

29

# RD -32


Rumi Design (1470 - 1520)

Rumi Design is a reference to the Seljukids of Rum. Rumi Design is a

style denoting the Ottoman arabesque patterns in Iznik art. They are

two main styles, the classic Rumi style and the Negatif Rumi style. The

crossover design Rumi-Hatayi combines the Ottoman arabesque patterns

(Rumi) and the Chinese inspired floral patterns (Hatayi). The

combination of these two styles is also referred to as Baba Nakkaş

Rumi-Hatayi Style. This motif marked the formative period in Iznik art

between 1470 and 1520.

Hammam - Ritz -Carlton, Istanbul

30


RUMI DESIGN

SULTAN

# RD -33 # RD -34 # RD -35

# RD -36

# RD -37 # RD -38 # RD -39

# RD -40

# RD -41 # RD -42 # RD -43

# RD -44

# RD -45 # RD -46 # RD -47

31

# RD -48


Hammam - Ritz -Carlton, Istanbul

32


33


Private Residence, London

34


FLORAL DESIGN

SULTAN

# FD -01 # FD -02 # FD -03

# FD -04

# FD -05 # FD -06 # FD -07

# FD -08

# FD -09 # FD -10 # FD -11

# FD -12

# FD -13 # FD -14 # FD -15

35

# FD -16


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

36


FLORAL DESIGN

SULTAN

# FD -17 # FD -18 # FD -19

# FD -20

# FD -21 # FD -22 # FD -23

# FD -24

# FD -25 # FD -26 # FD -27

# FD -28

# FD -29 # FD -30 # FD -31

37

# FD -32


Sheikh Zayed bin Sultan Al Nahyan Mosque, Abu

38

Dhabi


FLORAL DESIGN

SULTAN

# FD -33 # FD -34 # FD -35

# FD -36

# FD -37 # FD -38 # FD -39

# FD -40

# FD -41 # FD -42 # FD -43

# FD -44

# FD -45 # FD -46 # FD -47

39

# FD -48


Tile mural - Mosque, Istanbul

40


FLORAL DESIGN

SULTAN

# FD -49 # FD -50 # FD -51

# FD -52

# FD -53 # FD -54 # FD -55

# FD -56

# FD -57 # FD -58 # FD -59

# FD -60

# FD -61 # FD -62 # FD -63

41

# FD -64


FLORAL DESIGN

# FD -65 # FD -66 # FD -67

# FD -68

# FD -69 # FD -70 # FD -71

# FD -72

# FD -73 # FD -74 # FD -75

# FD -76

# FD -77 # FD -78 # FD -79

42

# FD -80


SULTAN

# FD -81 # FD -82 # FD -83

# FD -84

43


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.

44

Retail showroom, Istanbul


GEOMETRICAL DESIGN

SULTAN

# GD -01 # GD -02 # GD -03

# GD -04

# GD -05 # GD -06 # GD -07

# GD -08

# GD -09 # GD -10 # GD -11

# GD -12

# GD -13 # GD -14 # GD -15

45

# GD -16


GEOMETRICAL DESIGN

# GD -17

# GD -18

# GD -19

# GD -20

# GD -21

# GD -22

# GD -23

# GD -24

46


SULTAN

# GD -25

# GD -26

# GD -27

# GD -28

# GD -29

# GD -30

# GD -31

# GD -32

47


48


GEOMETRICAL DESIGN

SULTAN

# GD -32

# GD -33

# GD -34

# GD -35

# GD -36

# GD -37

# GD -38 # GD -39 # GD -40

49


50


ÇINIIÇIN DESIGN

SULTAN

Akın Akbaygil

Bülent Erkmen

Canan Dağdelen

Canan Tolon

Ebru Tabak

Emre Senan

Ettore Sottsass

Günnur Özsoy

Han Tümertekin

Ismet Dogan

Mine Ertan

51

Murat Morova


52


ÇINIIÇIN DESIGN

SULTAN

Nevzat Sayın

Ömer Uluç

Osman Dinç

Zaha Hadid

53


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.

54


ÇINTEMANI DESIGN

SULTAN

# CD -01 # CD -02 # CD -03

# CD -04

# CD -05 # UNI -06 # CD -07

# CD -08

# CD -09 # CD -10 # CD -11

# CD -12

# CD -13 # CD -14 # CD -15

55

# CD -16


ÇINTEMANI DESIGN

# CD -17 # CD -18 # CD -19

# CD -20

# CD -21 # CD -22 # CD -23

# CD -24

# CD -25 # CD -26 # CD -27

# CD -28

# CD -29

56


SULTAN

# CD -30 # CD -31

# CD -32 # CD -33 # CD -34

# CD -35 # CD -36

57


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 çektiriler (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

58


GALLEON DESIGN

SULTAN

# GAD -01 # GAD -02 # GAD -03

# GAD -04

# GAD -05 # GAD -06 # GAD -07

# GAD -08

# GAD -09 # GAD -10 # GAD -11

# GAD -12

# GAD -13 # GAD -14 # GAD -15

59

# GAD -16


Retail showroom, Istanbul

60


GALLEON DESIGN

SULTAN

# GAD -17

61


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.

62


KUBADABAD DESIGN

SULTAN

# KD -01 # KD -02 # KD -03

# KD -04

# KD -05 # KD -06 # KD -07

# KD -08

# KD -09 # KD -10 # KD -11

# KD -12

# KD -13 # KD -14 # KD -15

63

# KD -16


KUBADABAD DESIGN

# KD -17 # KD -18 # KD -19

# KD -20

# KD -21 # KD -22 # KD -23

# KD -24

# KD -25 # KD -26 # KD -27

# KD -28

# KD -29 # KD -30 # KD -31

64

# KD -32


SULTAN

# KD -33 # KD -34 # KD -35

# KD -36

# KD -37 # KD -38 # KD -39

# KD -40

# KD -41 # KD -42

65


66


KUBADABAD DESIGN

SULTAN

# KD -43 # KD -44 # KD -45

# KD -46

# KD -47 # KD -48 # KD -49

# KD -50

67


HEXAGONAL TILES

# HEX -01 # HEX -02 # HEX -03

# HEX -04

# HEX -05 # HEX -06 # HEX -07

# HEX -08

# HEX -09 # HEX -10 # HEX -11

# HEX -12

# HEX -13 # HEX -14 # HEX -15

68

# HEX -16


SULTAN

# HEX -17 # HEX -18 # HEX -19

69


VARIOUS DESIGNS

Relief 3d

Mosaics

Names and Numbers

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

70


SULTAN

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


72


VARIOUS DESIGNS

SULTAN

Piri Reis Design 01

# UNI -01

Piri Reis Design 01 Piri Reis 02 Piri Reis 03

Piri Reis 04

Golden Horn Design

Marble design 01 Marble design 01

73


H u n k a r

L i n e

··

A broad collection of designs such as geometrical and floral motifs.

··

A choice of 57 brilliant unicolors.

Marmaray Sirkeci Station

74


75


Çinili Hamam, Istanbul

76


NATURALISTIC DESIGN

HÜNKAR

# ND -01

# ND -02

# ND -03

# ND -04

# ND -05

# ND -06

# ND -07

# ND -08

77


Çinili Hamam, Istanbul

78


NATURALISTIC DESIGN

HÜNKAR

# ND -09

# ND -10

# ND -11

# ND -12

# ND -13

# ND -14

# ND -15

# ND -16

79


NATURALISTIC DESIGN

# ND -17

# ND -18

# ND -19

# ND -20

# ND -21

# ND -22

# ND -23

# ND -24

80


HÜNKAR

# ND -25

# ND -26

# ND -27

# ND -28

# ND -29

# ND -30

# ND -31

# ND -32

81


82


NATURALISTIC DESIGN

HÜNKAR

# ND -33 # ND -34 # ND -35

# ND -36

83


Hammam – Ritz-Carlton, Istanbul.

84


NATURALISTIC DESIGN

HÜNKAR

# ND -37

85


86


NATURALISTIC DESIGN

HÜNKAR

# ND -38

# ND -39

# ND -40

87


BOTANICAL DESIGN

# BD -01

# BD -02

# BD -03

# BD -04

# BD -05

# BD -06

# BD -07

# BD -08

88


HÜNKAR

# BD -09

# BD -10

# BD -11

# BD -12

# BD -13

89


SCENERY

Istanbul Palace of Justice.

Istanbul Palace of Justice.

90


HÜNKAR

Marmaray Sirkeci Metro Station, Istanbul.

Marmaray Üsküdar Metro Station, Istanbul.

91


SCENERY

Marmaray Üsküdar Metro Station, Istanbul.

Marmaray Sirkeci Metro Station, Istanbul.

92


HÜNKAR

Metro Station, Ankara.

Marmaray Sirkeci Metro Station, Istanbul.

93


Levent Metro Station, Istanbul.

94


SCENERY

HÜNKAR

Levent Metro Station, Istanbul.

Levent Metro Station, Istanbul.

95


SCENERY

Wagamama Restaurant, Istanbul

Marmaray Sirkeci Metro Station, Istanbul

96


HÜNKAR

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.

98


CALLIGRAPHY

HÜNKAR

Sheikh Zayed Mosque

Abu Dhabi 01

Sheikh Zayed Mosque

Abu Dhabi 02

Sheikh Zayed Mosque

Abu Dhabi 03

SINGLE CALLIGRAPHY TILES

# C -01

# C -02

# C -03 # C -04

# C -05

# C -06

99


COLLABORATIONS / Elica

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

100


HÜNKAR

Cooker hood 01

Cooker hood 02

Cooker hood 03

101


COLLABORATIONS / India Mahdavi

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


103

HÜNKAR


COLLABORATIONS / India Mahdavi

104


HÜNKAR

Landscapes 01

Landscapes 02

105


COLLABORATIONS / KIKI VAN EIJK

Restaurant and foyer, Theater Podium Mozaïek, Amsterdam.

Panel Design: Kiki van Eijk (Eindhoven).

Interior Design: Studio RIANKNOP (Amsterdam).

Image courtesy of Philip Jintes Photography.

106


HÜNKAR

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


COLLABORATIONS / Jens Praet

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.

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COLLABORATIONS / Jens Praet

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Processus Console

Processus Table

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COLLABORATIONS / Sarah Baruh Design

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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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COLLABORATIONS / Akin Design

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# AD -01

# AD -02 # AD -03 # AD -04

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COLLABORATIONS / Ebru Durmaz

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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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COLLABORATIONS / Ebru Durmaz

# ED -01 # ED -02 # ED -03

# ED -04

# ED -05 # ED -06 # ED -07

# ED -08

# ED -09 # ED -10 # ED -11

# ED -12

# ED -13 # ED -14 # ED -15

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# ED -16


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# ED -17 # ED -18 # ED -19

# ED -20

# ED -21 # ED -22 # ED -23

# ED -24

# ED -25 # ED -26 # ED -27

# ED -28

# ED -29 # ED -30 # ED -31

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# ED -32


COLLABORATIONS / Ebru Durmaz

# ED -33 # ED -34 # ED -35

# ED -36

# ED -37 # ED -38 # ED -39

# ED -40

# ED -41 # ED -42

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# ED -43 # ED -44 # ED -45

# ED -46

# ED -47 # ED -48 # ED -49

# ED -50

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TECHNICAL SPECIFICATIONS

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 (non hazardous, non toxic 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 90012008 standards (quality audit reports during and after production should be available)

··

D&B D U 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 EN ISO, 10545 4, Determination of Breaking Strength and Modulus of Rupture

TS EN ISO, 10545 9, Determination of resistance to Thermal Shock,

TS EN ISO, 10545 11, Determination of Crazing Resistance for Glazed Tiles

TS EN ISO, 10545 3, Determination of Water Absorption in apparent porosity and relative density

TS EN ISO, 10545 12, Determination of Frost Resistance

TS EN ISO, 10545 13, Determination of Chemical Resistance

TS EN 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.

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The dimensions can vary +/ 2 mm as the production is hand made. Border tiles are produced according to the

project and design.

Size (cm) Tiles/m Application Weight Thickness Strength

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. 12 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

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.

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TILES PATTERNS

1 Square - Straight Course

2 Square - Brickwork

3 Square - Hopscotch

4 Square - Diagonal Course

5 Rectangle - Straight Course

6 Rectangle - Subway

7 Rectangle - Herringbone

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8 Rectangle - Semi Basketweave


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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

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16 Pentagon and Star - Classic


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.

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