Madonna Tawlaft n tferka n tqerṭunin sɣur Nataliya Naymark

Madonna Tawlaft n tferka n tqerṭunin sɣur Nataliya Naymark d anerbaz yettwaqadren meqqren n 2026 Tarbaḥt A' Design Award n Lbrunz deg Taggayt n Tnaflit n Afeṣṣel n Igemman n Lebni d Iferdisen n Tɛemmart.

LbrunzIferdisen n Lebni· 2026

Madonna Tawlaft n tferka n tqerṭunin

sɣur Nataliya Naymark

Amsaɣ: NNaymark.design

Anerbaz n Tarbaḥt A' Design Award n Lbrunz deg Taggayt n Iferdisen n Lebni

9,808

Anerbaz n Urraz Yettwasenqden

Senqed Addad n Urraz i #180369

Wali deg A' Design Award Tabḍert n tɣamsa Tanecḍa n wammud

Initen

Afeṣṣel

Ɣef Madonna Tawlaft n tferka n tqerṭunin

Tagrumma n tqerṭunin Madonna tettaru tiseddarin n uceṭṭiḍ i d-yuran deg tugniwin isaramiten n tid n lqern wis 15 ɣer unagraw n users aḥerfi n uɣenǧul amudi. S tenzeggit i yettwaḍebbren akked usidef n yiniwen s tsestant, tikrisin n uceṭṭiḍ i yeẓẓawren ttuɣalent d tigzumin s tlata n tferḍas s telqey iḥulfan. Yal taqerṭunt tzemmer ad tettwazzi u ad tettwasedduket akken ad d-tesnulfu tinesmetlin yemgaraden, ur nettuɣal ara, deg leḥyuḍ, deg lqaɛat neɣ deg iqermuden. Talqayt n usebreq ameɛdani akked yisemmiḍen n ulɣu amtezwar srusun-d tabuɣart n yiniwen, ayen i yeǧǧan tutlayt tumḍint amezruy ad teddu deg twennaḍin n tsuddemt tatrart.

Asmekti

Ɣef Tarbaḥt A' Design Award n Lbrunz

Madonna Tawlaft n tferka n tqerṭunin d amerbaḥ n Tarbaḥt A' Design Award n Lbrunz, tagmat ɛlayen i yisnulfa yelhan, yeṭṭafaren tinawt, tamusni d tezmert. Imerbaḥen n Lbrunz d isnulfa yelhan, ttbanen d timusniwin n tmusni n yimahilen-nsen. Madonna Tawlaft n tferka n tqerṭunin ad yili d asnulfu yettwaɛezzen, yelhan, amaynut. Madonna Tawlaft n tferka n tqerṭunin yettemlil ɣef yimawlan, yettwaɛezzen s tmahilt-is.

Deffir n ufeṣṣel

Tagrurt n tɣamsa

Ismawen n terbaɛt, iferdisen itiknikanen akked telɣut i d-yefka umeṣṣufeɣ.

Taɣara Tasuft: Madonna is a modular ceramic tile collection translating 15th-century Madonna drapery into calibrated relief. Symbolic painted folds become structured physical depth. The rotational geometry enables controlled non-repetition across small and large surfaces, functioning as architectural structure rather than ornament. The system creates directional movement and allows scalable application across interiors.
Tigejdiwin & Akemmus: 300 x 300 mm
Tibzimin: tile, pattern, Ornament, Ceramic, Renaissance
Tasnakta n Ufares: Production combines high-pressure press-molding to generate calibrated 3D relief replicating drapery folds, followed by HD digital inkjet printing for chromatic fidelity to 15th-century iconography. Select areas receive third-fire luster application (or PVD metallization) for permanent metallic gold accents. Reactive glaze layering creates controlled oxidation effects, producing an aged patina with depth and surface tactility.
Asewḥel n Usnulfu: The main challenge was translating sacred iconography into contemporary ceramic without losing its dignity or becoming decorative imitation. Historically, folds in icons are symbolic, not naturalistic. Converting this painted illusion into structural relief required balancing authenticity with manufacturability. Limited glaze behavior, metallic firing constraints, and repeat-pattern logic demanded constant recalibration between art history and industrial feasibility.
Anadi: Historical visual research. Objective: translate 15th-century Madonna icon drapery into a modular ceramic system adaptable to modern interiors. Methodology: comparative analysis of icon paintings focusing on color layers, fold geometry, and compositional rhythm. Tools: archival study, chromatic mapping, 3D modeling. Experiments tested fold positioning and rotation. Result: a non-repetitive surface system. Insight: sacred color logic can inform contemporary design. Impact: bridges heritage and scalable interior production.
Aseḥbiber: The project was developed after extensive visual research of 15th-century Madonna icon paintings, focusing on the way drapery, color gradients, and layered folds were rendered. I studied multiple variations of fabric depiction to understand their geometric logic and chromatic structure. The tile design translates these historical folding patterns into a contemporary ceramic surface, preserving the rhythm and tonal depth characteristic of early Renaissance garments.
Tanzagt n Usenfar: September 2025
Tanila n Umahil: Each tile is designed to be rotated and combined in multiple positions, allowing endless pattern variations. One module can create a subtle surface, while a full set produces complex, flowing compositions. This system prevents visual repetition, so a space can feel different from every angle. The same pattern logic extends to wallpaper, textiles, and upholstery, creating a cohesive yet dynamic interior language.
Igmamen n Terbaɛt: Nataliya Naymark
Imsuren n Tugniwin: Nataliya Naymark