Claesson Koivisto Rune Architects

In many ways, tiles sit naturally within our practice. As both architects and product designers, we see the tile as a natural intersection of the two disciplines—it is a product, but also inherently architectural in its application. In that sense, it aligns closely with how we approach design, operating somewhere between object and space.
We have worked with other tile manufacturers before and use tiles extensively in our projects. However, this was the first time we worked with tiles in this particular way, and with a manufacturer of this level of precision.

Tiles are typically very precise, rectilinear, square elements, which means there are certain constraints in how you can work with them. Rather than applying a pattern onto the surface, we were interested in something more intrinsic to tiling itself—the joints between the tiles.
For us, the space between the tiles became as important as the tile itself. When you place tiles next to each other, the joints form a pattern. By introducing a subtle rounding to the edges, we could transform that pattern. It remains precise, but softens the rigidity. There is a slight expansion where the tiles meet, creating a different visual and tactile experience across the surface.

This also has practical implications. The softened edges make the tiles more forgiving during installation. Since the tiles are coloured all the way through, even if they get damaged on the sides over time, they will still look good. At the same time, they open up new possibilities for how the tiles can be used—for example, on gently curved surfaces, where sharper geometries would be more limiting.

Colour plays a significant role in how a space is perceived, but it must be considered in relation to other materials. Tiles are rarely used alone—they sit alongside wood, metal, textiles, and so on. The palette was developed together with A.a. Danto, drawing on their deep understanding of the material and its applications. We wanted something coherent that could work across different contexts.
Our aim was to create colours that are calm and not too dominant, with a sense of timelessness rather than fashion. The ivory is a warm, neutral tone; the terracotta has an earthy quality found across many cultures; and the indigo, perhaps slightly more unexpected, carries associations with water and is well-suited to wet environments.
What interested us was finding colours that feel both specific and universal—able to sit naturally across different cultural contexts.

One aspect is the way the tiles behave across a larger surface. When you see a tiled surface in a photograph, it can appear quite flat. But in reality, there is a depth and a tactility that becomes apparent when you are physically present. The subtle variations created by the joints, the edges, and the surface interact with light in a way that changes as you move. So the tiles are not static—they respond to the space and to the body. Another aspect is continuity. Because the material can be used both indoors and outdoors, it allows for a connection between spaces. You can extend a surface from inside to outside, which can make the space feel larger and more integrated.

Even though tiles are a hard material, the shape and texture give them a softness. It looks almost like a piece of textile, and it creates a warm, inviting feeling in the room—one that makes you want to take off your shoes and socks.

It was a highly collaborative process, with a lot of back and forth over a long period—more than a year. We discussed everything from geometry and dimensions to radii, colours, and surface qualities. Working with a manufacturer like A.a. Danto means constantly balancing design intent with production realities. Some ideas are not feasible at an industrial scale, while others require refinement to be realised properly.
That dialogue is essential. It is only through this process that you arrive at a result that is both well-designed and manufacturable.

Tile is what we would call an honest material—durable, long-lasting, and able to age well. In that sense, it has all the qualities needed for contemporary architecture, especially as longevity becomes increasingly important. What interests us is how tiles can move beyond purely functional surfaces and become part of spatial thinking. Through geometry, composition, and material quality, they can shape how a space is experienced.
In the case of A.a. Danto, there is also a strong sense of material integrity—the colour runs throughout the entire tile, ensuring it will maintain its appearance over time. That adds another layer of durability, both physical and visual, and it will last as long as the building stands. So we see a strong future for tiles—not only because of their history, but because of their potential to continue evolving within architecture.